REMBRANDT HARMENSZ. VAN RIJN (1606-1669)

A Brook with a Grotto and a Boat ('Het Spelonkje')

Details

REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
A Brook with a Grotto and a Boat ('Het Spelonkje')
etching and drypoint
1645
on laid paper, watermark fragment Foolscap with five-pointed Collar (Hinterding K.c.)
a fine, silvery impression of this rare landscape
second, final state
printing sharply, with good contrasts, touches of burr and a light plate tone
with margins and a sharp platemark
generally in very good condition
Plate 127 x 133 mm.
Sheet 148 x 158 mm.

Provenance

Domingo Guillermo de Arozarena (circa 1860), probably Havana and Paris (Lugt 109); his posthumous sale, Hôtel Drouot, Paris (exp. Clément), 11-16 March 1861, lot 715 ('Très-belle épreuve avec marge') (Fr. 22; to Posonyi).
With Alexander Emil Posonyi (1839-1899), Vienna (without stamp, see Lugt 2041).
Wilhelm Eduard Drugulin (1825-1879), Leipzig (Lugt 2612); possibly acquired from the above; his posthumous sale, C. G. Boerner, Leipzig, 1 December 1879 (and following days), lot 1776 ('Schöner alter Abdruck. Auf Schellenkappenpapier, mit Rand.‘) (Mk. 20).
Anatole-Auguste Hulot (1811-1891), Paris (without mark and not in Lugt); his posthumous sale, Hôtel Drouot (exp. Bouillon), 30 May 1892 (and following days), lot 791 ('Tres belle épreuve, avec marge. Collection Arozarena.’) (Fr. 10; to 'Papillon').
Charles C. Cunningham Jr. (b. 1934), Boston (without stamp, see Lugt 4684).
With P. & D. Colnaghi & Co. (with their stocknumber C.37209 in pencil verso); acquired from the above in 1969.
With James A. Bergquist, Newton, Mass.; acquired from the above in 1970.
With David Tunick Inc., New York (with his code in pencil verso).
Sam Josefowitz (Lugt 6094); acquired from the above in 1972; then by descent to the present owners.

Literature

Bartsch, Hollstein 231; Hind 211; New Hollstein 220 (this impression cited)
Stogdon p. 315
E. Dutuit, L'oeuvre complet de Rembrandt, Paris, 1883, Vol. II, p. 19-20, no. 228 (this impression cited).

Brought to you by

Stefano Franceschi Specialist

sfranceschi@christies.com +44 (0) 20 7752 3103

Lot Essay

It is an intriguing, secluded place Rembrandt set out to depict here. His particular interest seems to have been the reflections of the vegetation in the still water of this little pond or lagoon shown in close proximity. Yet the subject somehow evaded him and he seems to have truly abandoned the plate rather than leaving it deliberately unfinished. It is hence very rare, and although unresolved not without charm and interesting effects.

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