REMBRANDT HARMENSZ. VAN RIJN

The Good Samaritan (B., Holl. 90; H. 101; BB. 33-A)

Details

REMBRANDT HARMENSZ. VAN RIJN
The Good Samaritan (B., Holl. 90; H. 101; BB. 33-A)
etching and engraving, 1633, on fine laid paper, watermark Arms of Burgundy and Austria with the Golden Fleece (similar to Churchill 266, dated 1623), first state (of four), a superb impression of this exceptionally rare state, trimmed on or near the platemark all round and retaining the blank strip between the subject and platemark, which in this state shows the artist's proving work, the blank top left corner made-up, a faint pen and ink no. 77 in the blank bottom right corner, some very minor and unobtrusive creasing and staining
P. 10 x 8 3/8in. (256 x 213mm.)

Provenance

Franz Rechberger, 1799 (L. 2133), acting as curator for Comte Moriz von Fries (cf. L. 2903)
Baron J.G. Verstolk van Soelen, according to a note on the previous mat (cf. L.2490, this impression (?) cited in third sale, Amsterdam, October 26 et seq., 1847, 346 fl.)
Ducs d'Arenberg (L. 567)
Dr. Albert W. Blum, his stamp verso (not in Lugt)

Lot Essay

The Good Samaritan is one of the few instances in which Rembrandt closely copied a work in another medium, namely the 1630 oil painting of similar dimensions in the Wallace Collection, London (Bredius 545). Both works may have been stimulated by Jan van de Velde's nocturnal rendition of the subject dating from the 1620's (Holl. 12).

The Good Samaritan is one of the most pictorial of Rembrandt's etchings showing a biblical subject in a contemporary Dutch setting. Executed when Rembrandt was only 27, The Good Samaritan illustrates the extraordinary technical confidence of the young artist who, by use of varied lines and techniques, conjures up both color and movement in this monochrome medium.