REMBRANDT HARMENSZ. VAN RIJN

The Three Trees (B., Holl. 212; H. 205; BB. 43-B)

Details
REMBRANDT HARMENSZ. VAN RIJN
The Three Trees (B., Holl. 212; H. 205; BB. 43-B)
etching, engraving and drypoint, 1643, on fine laid paper, watermark Foolscap, a very fine impression, with very good contrasts, the diagonal drypoint lines top left as well as those delineating the clouds along the top edge and falling from the top right corner printing with strong, effective burr, the distant landscape remarkably clear, the foreground without wear, with a thread margin at the bottom, trimmed on the platemark at the other three sides and with a partial pen and ink borderline, a very small, very skillful and unobtrusive repair at the top edge near the right corner, a nick also at the top edge, two smaller repaired thin spots in the blank sky right of centre, slight staining
S. 8 5/8 x 119n. (216 x 250mm.)
Provenance
A.-J. Hachette (L. 132)

Lot Essay

The Three Trees is the most celebrated printed depiction of landscape and weather in the history of art. The coincidental human element included in the foreground, the lover's to the right and the fisherman and his wife to the left, the horse and cart on the ridge beyond and the workers in the field appear dwarfed by the forces of nature.

The plate is worked with a variety of techniques to describe different climatic effects, the strident diagonal drypoint lines at the top left, for example, show the force of the whipping rain through the burr which they contain. They presage in their power the elemental strength of similar lines used in Christ Crucified between Two Thieves (B. 78) (see Lot 26)

This impression is closely comparable to that in The Metropolitan Museum of Art which is also printed on paper with a Foolscap watermark. Both show burr coming down from the right edge which is often absent in other, perhaps slightly later impressions, printed on a batch of paper bearing a different watermark.