Current Inventory by Rembrandt van Rijn

The Pancake Woman 1635


Rembrandt Harmensz. van Rijn 1606 Leiden – Amsterdam 1669 The Pancake Woman 1635 etching; 110 x 80 mm (4 5/16 x 3 1/8 inches) Bartsch 124, White/Boon third state (of three); Hind 141; The New Hollstein 144 second state (of seven) provenance Robert Dighton, London (his stamp recto, Lugt 727) sale, Sotheby’s, London, February 20, 1962, lot 176 C.G. Boerner, Düsseldorf  (stock no. in pencil on the verso 5494) private collection, Germany (acquired in October 1962) Of the first state, pulled from the unfinished plate that shows no shading on the central figure, only two impressions survive in Amsterdam and […]

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Self-Portrait in a Fur Cap: Bust 1630


Rembrandt Harmensz. van Rijn Leiden 1606 – 1669 Amsterdam Self-Portrait in a Fur Cap: Bust 1630 etching; 64 x 53 mm (2 ½ x 2 1/16 inches) Bartsch 24, White-Boon fourth (final) state; Hind 29; The New Hollstein 72 fourth state (of six) provenance George Hibbert, London (Lugt 2849); his sale, Thomas Philipe, London, April 17ff., 1809, lot 5 Alexander J. Godby, Baltimore and London (not stamped, cf. Lugt 1119b); his sale, Sotheby’s, London, January 29f., 1935, lot 22 Craddock and Barnard, London Gordon W. Nowell-Usticke, Christiansted, St. Croix (Virgin Islands); his sale, Parke-Bernet, New York, October 31f., 1967, lot […]

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Christ Preaching (“La Petite Tombe”) ca. 1657, on Laid Paper


Rembrandt, Harmenz Van Rijn (1606-1669), Christ Preaching (La Petite Tombe), etching, burin and drypoint, c. 1657. References: Bartsch, Hollstein 67, Hind 256, only state; Nowell Usticke’s first state (early) of three, New Hollstein 298, first state (of 2).  In excellent condition, with small margins all around, printed on a thin laid paper, 6 1/8 x 8 1/8 inches. A fine balanced “black sleeve” impression, with strong burr on the drypoint, especially on the sleeve and garment of the man at the left, the garment of Christ, the arch, the wall and column upper right, beard of the man upper left, etc. Provenance: Gerd […]

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Christ Preaching (“La Petite Tombe”) ca. 1657; On Chine


  Rembrandt Harmensz. van Rijn 1606 Leiden – Amsterdam 1669 Christ Preaching (“La Petite Tombe”) ca. 1657 etching, engraving, and drypoint on tissue-thin chine; 156 x 207 mm (6 1⁄8 x 8 1⁄8 inches) Bartsch 67, White/Boon only state; Hind 256; New Hollstein 298 first state (of two) literature Erik Hinterding, Ger Luijten, and Martin Royalton-Kisch (eds.), Rembrandt the Printmaker, exhibition catalogue, Rijksprentenkabinet, Amsterdam/British Museum, London, 2000–01, no. 68 Clifford S. Ackley et al. (eds.), Rembrandt’s Journey: Painter, Draftsman, Etcher, exhibition catalogue, Museum of Fine Arts, Boston/Art Institute of Chicago, 2003–04, nos. 136f. A fine impression in excellent condition; trimmed […]

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Sheet of Studies: Head of the Artist, a Beggar Couple, Heads of an Old Man and Old Woman, etc.,


    Rembrandt Harmensz. van Rijn (1606-1669), Sheet of Studies: Head of the Artist, a Beggar Couple, Heads of an Old Man and Old Woman, etc., etching, 1632. References: Bartsch, Hollstein 363, New Hollstein 115, Hind 90. In good condition (apart from traces of a diagonal fold, minor staining). Second state (of 2), 4 x 4 1/8 inches. A fine early impression of this rare print. Provenance: ex Coll. Viscount Downe (?, with stamp verso, cf. Lugt 719a); Helmut H. Rumbler (Frankfurt-am-Main, stock number 33004 verso) C.G. Boerner (New York, Dusseldorf, stock number 28987 / RZ verso) Gerardo Rueda (Spain, 1926-1996); […]

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Christ Carried to the Tomb


Rembrandt van Rijn (1606-1669), Christ Carried to the Tomb, etching and drypoint, 1645. Reference: Bartsch 84, only state [signed in the plate].  In good condition apart from a repaired tear at the plate mark (weakened when printed on the unburnished plate and continuing in the margin lower left), with unusually wide margins, on an old laid paper with a Foolscap with Five Pointed Collar watermark (cf. Hinterding 231, dated to about 1651). 5 1/4 x 4 3/8, the sheet 7 1/4 x 6 1/4 inches, archival matting with window mat. A fine clear impression, with a few touches of burr […]

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A Cautionary Note on Rembrandt Prints


Many aspiring print collectors are initially interested in collecting Rembrandt prints; this is understandable since Rembrandt is well known, and of course fine examples of Rembrandt prints are extraordinarily beautiful and justifiably sought after. But a high level of Rembrandt print connoisseurship can be gained only through study, or the guidance of a reputable and knowledgeable dealer, or preferably both. This note is an introduction to some of the issues. Rembrandt made etchings and drypoints, working on copper plates, creating ink-holding furrows in these plates either directly (using a drypoint needle) or with etching (drawing through a wax-like substance covering a […]

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