REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)

View of Amsterdam from the Kadijk

Details
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
View of Amsterdam from the Kadijk
etching
circa 1641
on firm laid paper, watermark fragment Basilisk (Hinterding A'.a.a)
a very fine impression
printing very strongly, with intense contrasts in the foreground, and remarkable clarity and depth
with great presence even in the finest details in the background
with thread margins
in very good condition
Plate 112 x 153 mm.
Sheet 114 x 154 mm.
Provenance
Metropolitan Museum of Art, New York (Lugt 1943), with their duplicate stamp (Lugt 1808h), inscribed 20/46/9 in pencil and initialled by William M. Ivins Jr. (Curator of the Prints Department) in blue ballpoint pen verso.
With Knoedler & Co., New York (with their stocknumber MK35136 in pencil verso).
Dr Friedrich Andreas Lieberg (1898 - after 1965), Kassel, Milan, Buenos Aires (Lugt 1681ter); presumably acquired from the above; his posthumous sale, 140 Radierungen von Rembrandt der Jahre 1629 bis 1665, Kornfeld, Bern, 21 June 1979, lot 83 (CHF 69,000; to Laube for Josefowitz).
Sam Josefowitz (Lugt 6094); acquired at the above sale; then by descent to the present owners.
Literature
Bartsch, Hollstein 210; Hind 176; New Hollstein 203 (this impression cited)
Stogdon 91

Brought to you by

Tim Schmelcher
Tim Schmelcher International Specialist

Lot Essay

This is a very fine example of Rembrandt's famous view of Amsterdam, a remarkably compact and yet expansive view of the city from afar, with its church spires, many windmills at the edge of town and the large, looming warehouse of the Dutch East India Company in the middle. The skyline of the city itself occupies only a narrow strip of the print, while two thirds of the plate are left blank, to convey the vastness of the sky. The lower third is taken up by the marshlands outside of the city, with the reeds along the canals as dark accents, leading the eye towards the many buildings on the horizon. Rembrandt's vantage point is the Kadijk, the dyke on the north-eastern edge of Amsterdam, yet the panorama is not an accurate depiction of the city but rather an atmospheric rendition.The fact that the view from here is shown in reverse may indicate that Rembrandt drew it on the spot, directly onto the plate. Had he worked from a preparatory drawing, it seems plausible that he would have reversed the image when transferring it onto the printing plate. Some authors have, however, argued that Rembrandt took some liberties with the actual topography, and saw this as an indication that he manipulated the view in the studio, rather than drawing directly onto the plate what he saw.

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