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

Man at a Desk wearing a Cross and Chain

Details
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
Man at a Desk wearing a Cross and Chain
etching and drypoint
1641
on laid paper, partial watermark Strasbourg Lily (Hinterding ZZ.zz.)
a very good, strong impression of the fourth state (of five)
still printing with intense contrasts and depth
with margins and a sharp platemark
generally in very good condition
Plate 153 x 103 mm.
Sheet 166 x 116 mm.
Provenance
Unidentified, initials JV (?) in brown ink verso (Lugt 2594); possibly Joseph Vallette (d. 1807), The Hague (see Lugt 2478a); his posthumous sale, experts P. van der Schley, J. de Bosch, J. Yver, C. S. Roos and J. de Vries, Amsterdam, 26 October 1807, lot 189 ('Een Man met een Ridderorde') (Fl. 3; to Josi).
Probably with Christiaan Josi (1768-1828), Amsterdam and London (without mark, see Lugt 573).
With August Laube Kunsthandel, Zurich (their stocknumber 35 536 in pencil verso).
Sam Josefowitz (Lugt 6094); acquired from the above in 1984; then by descent to the present owners.
Literature
Bartsch, Hollstein 261; Hind 189; New Hollstein 194 (this impression cited)
Stogdon p. 321

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Stefano Franceschi
Stefano Franceschi Specialist

Lot Essay

The identity of the sitter of this very atmospheric portrait is unknown: several names have been cautiously suggested in the literature, including Nicolaes de Bye, councillor for the King of Poland, or the artist Jan Lievens (1607-1674), his friend from Leiden and rival in later years. Who ever the sitter was, he also posed for another of Rembrandt's etchings of the same year, The Card Player (B. 136; New Holl. 193). The head of the fair sitter, caught in a contemplative state, is lightly etched and the upturned collar mostly blank, creating a strong contrast against the dark background and the elaborately etched details of his luxurious 16th-century dress. By leaving the upper and upper right edge of the background unhatched and blank towards the platemark, Rembrandt seems to deliberately reveal the illusory nature of the picture plane.

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