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拍品專文
Rembrandt’s etching of Jan Six has long been one of the artist’s most celebrated and desirable prints and, alongside Christ healing the Sick: 'The Hundred Guilder Print' (see lot 45) completed about a year later in 1648, represents the highpoint of his very refined style. The sitter Jan Six (1618-1700) was a friend and patron of Rembrandt who in 1645, two years prior to the commission of this etching, had inherited a considerable fortune upon the death of his mother, whose portrait Rembrandt had painted in 1641. Six himself was a merchant and judge, and later became the mayor of Amsterdam in 1691. The etching presents him in a remarkably informal pose, leaning against an open window wearing an unbuttoned shirt, reading a folded journal or pamphlet. It is an intimate portrait of a man of culture and intellect, depicted in what is presumably his study or library, surrounded by books, papers, and a painting half-hidden by a curtain. A ceremonial sword placed on a trunk in the background demonstrates his status in society. Unusually, the light source is behind the sitter, with daylight pouring through the open window around his shoulders into the dark room, reflecting off objects such as the sword and the papers, glinting in the dark interior.
There are three known preparatory drawings for the print, a relative rarity within Rembrandt’s practice, who seems to have often worked directly onto the etching plate. The present portrait seems to have required considerable planning or perhaps conversations with the sitter prior to the execution of the plate. The first drawing (Six Collection, Amsterdam) shows Jan Six facing out of the composition in a relaxed pose, whilst a dog playfully jumps up at his leg. Hinterding notes that this novel iconography may have disconcerted the sitter. The following drawing (Amsterdam Museum, Fodor Collection) shows him reading, in a more scholarly and dignified pose, and presumably more suitable for a commissioned portrait. The final preparatory drawing in black chalk shows the main features of the final composition in reverse, which were then transferred onto the copper plate. Once transferred, Rembrandt worked up the composition more fully, adding the background elements and intricate details of the room. Hinterding suggests that given the great level of detail in the depiction of the room, Rembrandt may have added these details in situ directly onto the etching plate.
The composition was essentially completed in the first state, the following three states involving changes to the window, to small highlights elsewhere, and the addition of Rembrandt’s signature and date. There are very few surviving impressions of these earlier states. New Hollstein records two impressions each of the first and second states, one of the third state, and eleven of the fourth state. The majority of impressions that survive are of the present fifth, final state, and even these rarely appear on the auction market.
Hinterding notes that the enduring appeal of this print amongst collectors is not only due to the great success of the image, but also the close personal relationship between artist and sitter. When Rembrandt faced bankruptcy in 1653, Jan Six lent him the large sum of one thousand guilders without interest, to help him settle his mounting debts to creditors. Rembrandt went on to create a painted portrait of Jan Six the following year, widely considered to be one of Rembrandt’s great masterpieces. Apart from being a close friend and patron, Six was a passionate collector of Rembrandt’s etchings, and went on to assemble one of the most complete collections of etchings by the artist, part of which eventually entered the holdings of the Rijksmuseum. The painted portrait, two of the preparatory drawings, and the original copper plate of this etching remain in the collection of the Six Family in Amsterdam.
There are three known preparatory drawings for the print, a relative rarity within Rembrandt’s practice, who seems to have often worked directly onto the etching plate. The present portrait seems to have required considerable planning or perhaps conversations with the sitter prior to the execution of the plate. The first drawing (Six Collection, Amsterdam) shows Jan Six facing out of the composition in a relaxed pose, whilst a dog playfully jumps up at his leg. Hinterding notes that this novel iconography may have disconcerted the sitter. The following drawing (Amsterdam Museum, Fodor Collection) shows him reading, in a more scholarly and dignified pose, and presumably more suitable for a commissioned portrait. The final preparatory drawing in black chalk shows the main features of the final composition in reverse, which were then transferred onto the copper plate. Once transferred, Rembrandt worked up the composition more fully, adding the background elements and intricate details of the room. Hinterding suggests that given the great level of detail in the depiction of the room, Rembrandt may have added these details in situ directly onto the etching plate.
The composition was essentially completed in the first state, the following three states involving changes to the window, to small highlights elsewhere, and the addition of Rembrandt’s signature and date. There are very few surviving impressions of these earlier states. New Hollstein records two impressions each of the first and second states, one of the third state, and eleven of the fourth state. The majority of impressions that survive are of the present fifth, final state, and even these rarely appear on the auction market.
Hinterding notes that the enduring appeal of this print amongst collectors is not only due to the great success of the image, but also the close personal relationship between artist and sitter. When Rembrandt faced bankruptcy in 1653, Jan Six lent him the large sum of one thousand guilders without interest, to help him settle his mounting debts to creditors. Rembrandt went on to create a painted portrait of Jan Six the following year, widely considered to be one of Rembrandt’s great masterpieces. Apart from being a close friend and patron, Six was a passionate collector of Rembrandt’s etchings, and went on to assemble one of the most complete collections of etchings by the artist, part of which eventually entered the holdings of the Rijksmuseum. The painted portrait, two of the preparatory drawings, and the original copper plate of this etching remain in the collection of the Six Family in Amsterdam.