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

Cornelis Claesz. Anslo, Preacher

细节
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
Cornelis Claesz. Anslo, Preacher
etching and drypoint
1641
on firm laid paper, with an indistinct watermark fragment
a very fine, early and lively impression of the rare second state (of five)
printing sharply, with great clarity and depth
with some burr and a subtle plate tone
with thread to narrow margins
some tiny retouches in brown ink
generally in very good condition
Plate 185 x 158 mm.
Sheet 187 x 161 mm.
来源
With Arthur Pond (circa 1705-1758), London (without mark; see Lugt 2038).
Sir Edward Astley (1729-1802), Norfolk (Lugt 2775, recto); probably acquired en-bloc from the above with the rest of his collection; presumably his sale, Langford, London, 27 March 1760 (and following days), 7th day, lot 78 ('... Renier Hanslo, and the copy') (£ 2.5).
Joseph Maberly (1783-1860), London and Cuckfield, Sussex (without mark; see Lugt 1845); his sale, Sotheby's, London, 26 May 1851 (and following days), lot 677 ('Renier Anslo. SUPERB IMPRESSION, EXCESSIVELY RARE, from the Astley collection.') (£ 7.15; to Dingwell).
Robert Prioleau Roupell (1798-1886), London (without mark; see Lugt 2234); his sale, Christie's, London, 5-8 July 1887, lot 669 (£ 30; to Thibaudeau, possibly for Gutekunst) (cited in Lugt).
With Alphonse Wyatt Thibaudeau (1840-1893), Paris and London (without mark; see Lugt 2473); acquired at the above sale.
With H. G. Gutekunst, Stuttgart.
Adalbert Freiherr von Lanna (1836-1909), Prague (Lugt 2773, with his inventory number 7982 in pencil verso); acquired from the above on 20 November 1888; his sale, H. G. Gutekunst, Stuttgart, 11 May 1909 (and following days), lot 2683 (‘Prachtvoller und äusserst seltener Abdruck des 2. Zustandes vor der Überarbeitung mit der kalten Nadel, mit Rändchen, Sammlung Astley') (Mk. 1800; to Ritter).
With Gilhofer & Ranschburg, Lucerne.
Carl Hirschler (1871-1941) & Rose Hirschler, née Dreyfus (1886-1963), Amsterdam & Haarlem (Lugt 633a); acquired from the above in 1924; then by descent.
With C. G. Boerner, New York; on consignment from the above.
Sam Josefowitz (Lugt 6094); acquired from the above in 2010; then by descent to the present owners.
出版
Bartsch, Hollstein 271; Hind 187; New Hollstein 197 (this impression cited)
Stogdon 112

荣誉呈献

Tim Schmelcher
Tim Schmelcher International Specialist

拍品专文

Cornelis Claesz. Anslo (1592-1646) was a cloth-merchant and a Mennonite preacher, and it seems that Rembrandt aimed to represent both occupations in this elaborate portrait. The loving attention with which Rembrandt described the different textures and details of his garments, including his fur-trimmed cloak, the buttons, ruff and the hat with a braided hatband, as well as the tassel of his cushion and the table-cloth, would have been appreciated by the sitter, whose profession it was to evaluate the quality of garments and textiles. Anslo the preacher was famed for his eloquence, and this talent is represented metaphorically by the books on the table, but also by the writing pen and the gesture of his left hand, which suggests that he is relaying a specific argument. Three years after the creation of the print, the great Dutch poet and dramatist Joost van den Vondel published a poem about Anslo's oratory and Rembrandt's portrayal of the man: O Rembrandt, paint Cornelis' voice. The visible part is the least of him, the invisible is known only through the ears, he who would see Anslo must hear him (quoted in: Hinterding et al., 2000, p. 196). Vondel may here refer either to the etching or to the painting of Cornelis Claesz. Anslo with his Wife, Aeltje Gerritsdr. Schouten of the same year, 1641, which is today at the Gemäldegalerie Alter Meister in Berlin. The painting also displays the attributes of Anslo's two vocations, fine fabrics and books.
The etched portrait is one of the few of the artist's prints for which a closely related preparatory drawing has survived, in this case a red chalk sketch, at the British Museum, London (Benesch 758). The drawing is indented from the front, an indication that the composition was transferred onto the prepared copperplate, similar to the drawing for Diana at the Bath (see lot 84).
The nail in the wall at the background may be intended to draw our attention to the frame or panel leaning on the floor at lower right. This has been interpreted as a reference to the Protestant view that the word must rule over the image. Alternatively, it may be a visual pun on the Dutch word spijker, which means both 'nail' and 'warehouse': the chapel where Anslo's congregation met was a former storehouse and commonly know as the Grote Spijker (see M. Royalton-Kisch in: Hinterding et al., 2000, no. 45, p. 196-199).
The first state of this print is already complete, but has a narrow blank border at the lower sheet edge. Only six impressions in public collections are known. In the second state, which is also very uncommon, Rembrandt extended the table cloth downwards to cover the entire plate below. The present example is a particularly fine impression and its provenance can be traced back to the first half of the 18th century.

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