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

A standing Hurdy-Gurdy Player ('Polander standing with Arms folded')

細節
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
A standing Hurdy-Gurdy Player ('Polander standing with Arms folded')
etching
circa 1635
on laid paper, without watermark
a fine, delicate impression of this rare, small and lightly etched print
second, final state
the fine grainy texture on the figure pronounced
trimmed just into the blank subject on all sides
in very good condition
Sheet 49 x 44 mm.
來源
Pierre Mariette II (1634-1716), Paris (Lugt 1790, dated 1674).
Sotheby's, London, 29 November 1971, lot 135 (to Gale).
With Mayfair Kunst A.G. (Ira Gale), Zug (with his code pdac 220712=iak in pencil verso).
Sam Josefowitz (Lugt 6094); acquired from the above in 1971; then by descent to the present owners.
出版
Bartsch, Hollstein 140; Hind 138; New Hollstein 75 (this impression cited)
Stogdon p. 294

榮譽呈獻

Tim Schmelcher
Tim Schmelcher International Specialist

拍品專文

The subject of this delicate little print is a hurdy-gurdy player, a roaming street musician, a popular subject of the Dutch Golden Age, and one of particular interest to Rembrandt, who depicted it in a number of etchings (see lot 56).
Bartsch titled the print Polander with folded Arms, paying more attention to the high cap of the man identifying him as Polish, without noticing the hurdy-gurdy. The musician, heavily dressed in rags, with his instrument tucked under his left arm, is centred and contained in an almost stamp-sized format. Much of the tiny figure is sketched with a few swift, loose lines, but Rembrandt lends the man substance and weight by finely shading him on the left. His dignified pose speaks for Rembrandt’s sympathy with the itinerant performer - people who were generally looked upon with contempt and suspicion.
The early provenance of this sheet, acquired by the renowned Parisian print dealer Pierre Mariette II in 1674, demonstrates that small, secular prints such as this humble but exquisite little etching were already collectible and sought-after, even outside Holland, only three decades after Rembrandt etched this plate.

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