拍品专文
This is an outstanding impression of the very rare third state - only nine impressions including the present one are recorded. Sam Josefowitz was able to acquire also a first and sixth state of this plate, which together formed a fascinating ensemble, demonstrating how Rembrandt step by step darkened the plate, as if he was witnessing and recording the Holy Family's progression on their nocturnal journey.
It is a very concentrated image, and the added shading pares down the composition even further, almost obliterating the hills and building in the background, which were still discernible in the first state. The present sheet really only depicts Mary and Joseph trotting along, the Virgin seated sideways on the donkey led by Joseph. We must assume that she is holding the Christ child, but we cannot see Him. Joseph is carrying a brightly-lit lantern, which casts long shadows onto the ground and illuminates him, the rock or shrubs above, the donkey and Mary's headscarf, cloak and - very faintly - Her face. The sky has significantly darkened compared to the first state, but the last remnants of daylight or perhaps a pale ray of moonlight break through the clouds. Already in the first state Rembrandt explored the nocturnal aspect of the scene, as he printed at least four impressions with a heavy plate tone (see British Museum, inv. no. F,4.103). These experiments with plate tone and selective wiping did not seem to have satisfied him, and he must have decided at this point to permanently obscure the image further by adding increasingly dense hatching to all areas of the plate in the subsequent four states, all printed in very small numbers. In the sixth state, of which he produced the first sizeable print run, the image is almost completely blackened, with the lantern as the only highlight, casting a faint twilight onto the figures.
The Holy Family’s Flight into Egypt and the Rest on the Flight into Egypt are amongst Rembrandt’s most frequent motifs, and he returned to them in no fewer than eight etchings, several drawings and at least three paintings. It may have been a popular theme, but Rembrandt must have also had a creative interest in it. Perhaps it afforded him the opportunity to explore the subject of figures in a landscape in a wide variety of ways (see also lot 18).
The long provenance of the present sheet includes some of the greatest Rembrandt collectors of their time, of which Sam Josefowitz was only the latest: Earl of Aylesford, Hawkins, Duke of Buccleuch, Dr Sträter, Mathey, Vever. One of the finest and most moving night scenes in Rembrandt printed oeuvre, early states of this subject have always been very desirable and realised high prices for a print of such modest size.
It is a very concentrated image, and the added shading pares down the composition even further, almost obliterating the hills and building in the background, which were still discernible in the first state. The present sheet really only depicts Mary and Joseph trotting along, the Virgin seated sideways on the donkey led by Joseph. We must assume that she is holding the Christ child, but we cannot see Him. Joseph is carrying a brightly-lit lantern, which casts long shadows onto the ground and illuminates him, the rock or shrubs above, the donkey and Mary's headscarf, cloak and - very faintly - Her face. The sky has significantly darkened compared to the first state, but the last remnants of daylight or perhaps a pale ray of moonlight break through the clouds. Already in the first state Rembrandt explored the nocturnal aspect of the scene, as he printed at least four impressions with a heavy plate tone (see British Museum, inv. no. F,4.103). These experiments with plate tone and selective wiping did not seem to have satisfied him, and he must have decided at this point to permanently obscure the image further by adding increasingly dense hatching to all areas of the plate in the subsequent four states, all printed in very small numbers. In the sixth state, of which he produced the first sizeable print run, the image is almost completely blackened, with the lantern as the only highlight, casting a faint twilight onto the figures.
The Holy Family’s Flight into Egypt and the Rest on the Flight into Egypt are amongst Rembrandt’s most frequent motifs, and he returned to them in no fewer than eight etchings, several drawings and at least three paintings. It may have been a popular theme, but Rembrandt must have also had a creative interest in it. Perhaps it afforded him the opportunity to explore the subject of figures in a landscape in a wide variety of ways (see also lot 18).
The long provenance of the present sheet includes some of the greatest Rembrandt collectors of their time, of which Sam Josefowitz was only the latest: Earl of Aylesford, Hawkins, Duke of Buccleuch, Dr Sträter, Mathey, Vever. One of the finest and most moving night scenes in Rembrandt printed oeuvre, early states of this subject have always been very desirable and realised high prices for a print of such modest size.