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Lot Essay
This little study of a calling pedlar comes from a series of nine etchings plus title-page created and published by Jan van Vliet in 1632. They stand in the tradition of the Dutch print sets made by Jan van Velde and Pieter de Jode, but also take inspiration from slightly earlier precedents, such as Jacques Callot's Les Gueux and Varie figure. Rembrandt's small prints of street figures of 1630-31 are of particular relevance, too, as the two young artists worked closely together as printmakers in the early years in their hometown of Leiden. The expression of the shouting pedlar is reminiscent of one of Rembrandt's small self-portraits of the same period (see lot 126).
The present etching is on vellum, an unusual printing support at the time, especially for such a modest format and subject. Rembrandt would later use vellum occasionally, most famously for The Three Crosses, and other experimental prints of the 1650s. Perhaps van Vliet printed this impression as a presentation copy for a friend or patron, as prints on vellum must have been considered special and precious.
The present etching is on vellum, an unusual printing support at the time, especially for such a modest format and subject. Rembrandt would later use vellum occasionally, most famously for The Three Crosses, and other experimental prints of the 1650s. Perhaps van Vliet printed this impression as a presentation copy for a friend or patron, as prints on vellum must have been considered special and precious.