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拍品专文
In this print, the second in the sequence of four illustrations for Manasseh ben Israel’s Piedra Gloriosa of 1655 (see lot 26), Rembrandt depicts Jacob's dream of a ladder reaching to heaven, with angels ascending and descending, as recounted in the Book of Genesis (28:11-15). In his mystical text, Manasseh interpreted the ladder as a symbol for the messianic promise.
As with the previous illustration (see lot 26), it seems that Rembrandt adapted his initial composition at Manasseh's request. As Hinterding observes, in the second state ‘the lower sides of the ladder are burnished in’, indicating an effort to extend the ladder downwards (Hinterding, 2013 p. 249). The ladder’s midpoint, symbolising Jerusalem, was presumably where Manasseh asked Rembrandt to position Jacob. Notably, the stone upon which Jacob rests is the very same divine stone that shatters the statue in Nebuchadnezzar’s dream (see lot 26).
The composition is evocative: Jacob lies in shadowed repose while the ladder rises diagonally through the gloom, its barely defined rungs now reaching downwards into darkness. The whole composition is characterised by a deliberate lack of definition, an effect Rembrandt achieved through the extensive use of drypoint. This sense of uncertainty is suggestive both of the nocturnal setting and of the mystery of revelation itself. The burr in the present very fine, early impression is particularly effective in obscuring and blurring the image to the desired, dreamlike appearance.
As with the previous illustration (see lot 26), it seems that Rembrandt adapted his initial composition at Manasseh's request. As Hinterding observes, in the second state ‘the lower sides of the ladder are burnished in’, indicating an effort to extend the ladder downwards (Hinterding, 2013 p. 249). The ladder’s midpoint, symbolising Jerusalem, was presumably where Manasseh asked Rembrandt to position Jacob. Notably, the stone upon which Jacob rests is the very same divine stone that shatters the statue in Nebuchadnezzar’s dream (see lot 26).
The composition is evocative: Jacob lies in shadowed repose while the ladder rises diagonally through the gloom, its barely defined rungs now reaching downwards into darkness. The whole composition is characterised by a deliberate lack of definition, an effect Rembrandt achieved through the extensive use of drypoint. This sense of uncertainty is suggestive both of the nocturnal setting and of the mystery of revelation itself. The burr in the present very fine, early impression is particularly effective in obscuring and blurring the image to the desired, dreamlike appearance.