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

The Artist's Mother seated at a Table, looking right: three Quarter Length

細節
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
The Artist's Mother seated at a Table, looking right: three Quarter Length
etching
circa 1631
on laid paper, countermark ISI or IS (Hinterding a.)
a fine impression of the second state (of three)
printing strongly and with good contrasts
with touches of burr on the hands, tip of the nose and eyes
with margins
in very good condition
Plate 149 x 131 mm.
Sheet 172 x 150 mm.
來源
With August Laube, Zurich (their stocknumber 32570 in pencil verso).
Sam Josefowitz (Lugt 6094; on the support sheet recto); acquired from the above in 1970; then by descent to the present owners.
出版
Bartsch, Hollstein 343; Hind 52; New Hollstein 91 (this impression cited)
Stogdon p. 342

榮譽呈獻

Tim Schmelcher
Tim Schmelcher International Specialist

拍品專文

This portrait has long been identified as Rembrandt's mother, Neeltgen Willemsdochter van Zuytbroeck (circa 1568-1640). The sitter appears in several etchings made between 1628 and 1632, and one of these plates (NH 87) listed in 1679 as Rembrandt’s moeder in the estate inventory of the Amsterdam print dealer Clement de Jonghe, who later owned a number of Rembrandt's printing plates. Like other portraits of the period it has a certain formality which Rembrandt no doubt hoped would impress potential patrons, and in many respects it is more an elaborate study after a model than a conventional portrait. The old woman is shown in half-figure, facing to the right with her hands folded, seated in front of a low table. Her wrinkled face and hands are depicted in exquisite detail, framed by the dark headdress and fur-trimmed shawl. The artist probably drew her face, which is lightly bitten, from life directly onto the plate, and then added the more heavily etched headdress and rest of the figure later.
The etching must have been a commercial success since it was reprinted several times in the 1630's and 40's, and it was influential much beyond Rembrandt's lifetime: over to centuries later, James McNeill Whistler (1834-1903) turned to the print for inspiration when he painted the famous portrait of his own mother, repeating the old woman's pose and the starkness of the composition.

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