REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
PROPERTY FROM THE COLLECTION OF J.E. SAFRA
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)

Jan Uytenbogaert, 'The Goldweigher'

Details
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
Jan Uytenbogaert, 'The Goldweigher'
etching and drypoint
1639
on laid paper, watermark Foolscap (probably with five-pointed Collar, Hinterding B.a)
a very fine, early impression of the second state (of three)
printing sharply and richly, with great contrasts and luminosity
much burr on the coat and elsewhere
with thread margins or trimmed on the platemark in places
a few small repairs
generally in very good condition
Plate & Sheet 252 x 205 mm.
Provenance
Unidentified, initial R in brown ink verso (not in Lugt).
British Museum, London (Lugt 300), with their duplicate stamp (Lugt 305) and initials of George William Reid (Keeper of Prints & Drawings, 1866–83).
Otto Schäfer (1912-2000), Schweinfurt (see Lugt 5881, without mark); his sale, Sotheby's, New York, 13 May 1993, lot 54 ($ 118,000).
Literature
Bartsch, Hollstein 281; Hind 167; New Hollstein 172

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Stefano Franceschi
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Lot Essay

The acquaintance between Rembrandt and Jan Uytenbogaert (1608-1680), chief tax collector in Amsterdam, may have begun in Leyden, where the artist was working and living at the time, Uytenbogaert was studying Law. They may have also met a few years later in Amsterdam, as both shared an interest in prints and an eagerness in print collecting. In 1639, Rembrandt bought his house on Breestraat but soon defaulted the payment due to a lack of funds and was helped by the tax collector, who interceded for him. It cannot be a coincidence that the present etching was made by Rembrandt that same year, possibly to express his gratitude for Uytenbogaert's intervention. The artist depicts him in his office engaged in his daily duties, weighing and recording bags of money handed to him by a kneeling servant. It is almost a genre scene and the sitter is dressed in 16th century costume, including a luxurious fur coat with rich, velvety fur, rendered with drypoint. The burr of drypoint is remarkably pronounced in the present example, which in the past was in important public and private collections, such as those of the British Museum and Otto Schäfer.

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