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

Self-Portrait in a Velvet Cap with Plume

Details
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
Self-Portrait in a Velvet Cap with Plume
etching
1638
on laid paper, partial watermark Strasbourg Lily (pendant initials WR)
a fine impression of the second state (of four)
printing sharply and delicately yet with good contrasts
some tiny ink smudges on and just below the mouth and on his right eye
with thread margins on three sides or trimmed on the platemark below
some minor foxing and staining, a couple of short tears
otherwise in good condition
Plate 13,3 x 10,3 cm. (5 ¼ x 4 1⁄8 in.)
Sheet 13,5 x 10,5 cm. (5 3⁄8 x 4 1⁄8 in.)
Provenance
Vittorino Cavalli (20th century), Reggio Emilia, Italy (Lugt 4608).
Private Collection, Italy; Christie's, London, 8 July 1998, lot 205.
Acquired from the above sale; then by descent to the present owners.
Literature
A. von Bartsch, Catalogue raisonné de toutes les Estampes qui forment l'Œuvre de Rembrandt..., Vienna, 1797, no. 20, pp. 18-19.
A.M. Hind, A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated, London, 1923, no. 156, p. 82 (another impression ill.).
C. White & K.G. Boon, Hollstein's Dutch and Flemish Etchings, Engravings and Woodcuts: Rembrandt van Rijn (vol. XVIII), Amsterdam, 1969, no. 20, p. 9 (another impression ill.).
E. Hinterding, J. Rutgers & G. Luijten, eds., The New Hollstein - Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700: Rembrandt, Amsterdam, 2013, no. 170 , pp. 31-32 (another impression ill.).

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Zack Boutwood
Zack Boutwood Cataloguer

Lot Essay

Created two years after the Self-Portrait with Saskia (see previous lot), Rembrandt with this print continued a small series of self-portraits in which he presented himself very confidently dressed in extravagant 16th-century dress, thereby placing him in the tradition of the great painters of the previous century: Raphael, Titian, but also Albrecht Dürer. The plumed cap may be a reference to the soldiers' and halberdiers' costumes found in some of Dürer's prints.
Rembrandt's had by now achieve an astonishing mastery of the etching technique. In the present print, the modelling and shading of his face and hair with the most delicate lines is particularly remarkable and can only be fully appreciated in early impressions such as the present one.

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