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

Bearded old Man with high Forehead

Details
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
Bearded old Man with high Forehead
etching
circa 1629
on laid paper, without watermark
a very fine, strong impression of this extremely rare early print
second, final state
printing very richly and darkly
with prominent plate impurities and much plate tone
trimmed to or just outside the platemark, with an added borderline in pen and ink
some touches of pen and brown ink on the man's forehead, possibly 17th century
some minor defects
Sheet 75 x 67 mm.
Provenance
Probably with Thomas Philipe (circa 1740-1816), Edinburgh and London (without mark, see Lugt 2451).
Edward Rudge (1763-1846), Abbey Manor, Evesham, Worchestershire, and London (without mark as is common, see Lugt 900); then by descent to his great-grandson John Edward Rudge (1903-1970); his sale, Christie's, London 16-17 December 1924, lot 292 (part lot, with B. 313 and 315; 'two impressions are of the Thomas Philips collection') (£47.5; to Dunthorne).
With Robert Dunthorne, London and Liverpool.
With Craddock & Barnard, London.
Captain Gordon W. Nowell-Usticke (1894-1978), Christiansted, St. Croix, Virgin Islands (without mark and not in Lugt); acquired from the above; his sale, Parke-Bernet Galleries, New York, 30 April - 1 May 1968, lot 207 ($ 850; to Kennedy).
With Kennedy Galleries, New York; acquired at the above sale.
Sotheby's, Parke-Bernet, New York, 14 November 1981, lot 872.
Sam Josefowitz (Lugt 6094); acquired at the above sale; then by descent to the present owners.
Literature
Bartsch, Hollstein 314; Hind 87; New Hollstein 12 (this impression cited)
Stogdon p. 339

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Stefano Franceschi
Stefano Franceschi Specialist

Lot Essay

One of his early small portraits, predating a whole series of depictions of bearded, elderly men (see lots 80, 81 & 82), this very rare print betrays the influence of Rembrandt's pupil Jan van Vliet on his own etching style. In those years, the two young men collaborated closely in their efforts to set up a printing workshop. Van Vliet seems to have brought a more formal training in etching into the partnership, and etched in a more controlled and disciplined way than his more unconventional master. Here Rembrandt used a rather heavy, dense hatching pattern that is typical for van Vliet on the coat and hat of the sitter, while the face shows the delicacy of draughtsmanship and sensitivity of observation only Rembrandt himself was capable of.

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