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

The Raising of Lazarus: small Plate

Details
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
The Raising of Lazarus: small Plate
etching with touches of drypoint
1642
on laid paper, watermark Pro Patria (similar to Hinterding A'd.)
a fine impression of the first state (of two)
printing sharply, with good contrasts and great clarity even in the finest details
with narrow margins
some defects and repairs at the corners
generally in good condition
Plate 151 x 113 mm.
Sheet 153 x 115 mm.
Provenance
With Ira Gale, Zug (his code 2077/RR in pencil verso).
Sam Josefowitz (Lugt 6094); presumably acquired from the above; then by descent to the present owners.
Literature
Bartsch, Hollstein 72; Hind 198; New Hollstein 206
Not in Stogdon

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Lot Essay

The present print, executed in 1642, depicts the miraculous story of Christ raising Lazarus from the dead (John 11:1–44), considered one of Christ’s most extraordinary and dramatic miracles. Rendered in a sketch-like etching style, Rembrandt sets the scene within a jagged cave, with some buildings in the background suggestive of a city nearby. By creating tonal contrasts within the image through the effective use of hatching, the artist focuses the viewer’s attention on the collective emotional response from the crowd gathered around the figure of Christ, including the resurrected man's sisters Martha and Mary. The onlookers gaze down at Lazarus in shock and amazement, whose loosely etched face and shoulders emerge from his tomb, himself looking no less surprised. The present first state is the only life-time iteration of this print, before it was reworked by another hand, possibly Claude-Henri Watelet.

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