Harris Schrank Fine Prints

Francisco Goya (1746-1828), Ensayos (Trials), etching, aquatint and burin, 1799. Plate 60 of the Caprichos, First Edition. Harris 95, Delteil 97. In very good condition (with the binding holes showing at left), printed in sepia on a soft but strong laid paper, 8 1/16 x 6 1/2, he full sheet, 12 1/16 x 8 3/4 inches.

A fine impression.

Harris notes that the fine grain aquatint in one pale tone contrasts with the highlights on the central figure’s chest, the cat and the skull in the foreground, and with the highlights on the ‘teacher,’ particularly in the early impressions where the aquatint forms a line across her stomach. In this impression these aquatint highlights are quite prominent, as is the line across the teacher’s stomach.

Goya’s commentary: “Little by little she is making progress. She is already making her first steps and in time she will know as much as her teacher. ”  The drawing in pen and sepia ink has a legend elucidating this note: “Trial of novice witches on their first flight and they  set to work with fear.”

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); Rueda was a painter and sculptor well known for his art collection as well as his own work.

Nowell-Eusticke rates its rarity RR+ (“a very scarce sheet of 1632”).

In addition to the large self portrait the sheet portrays a beggar couple, an old man, an old woman, and other elements. Such sheets, both in drawings and a number of etchings, belong to the tradition of “model books.”

Rembrandt Harmensz. van Rijn

1606 Leiden – Amsterdam 1669

Jan Lutma, Goldsmith 1656

etching, engraving, and drypoint on thin chine; 196 x 150 mm

Bartsch 276, White/Boon 276 first state (of three); Hind 290; New Hollstein 293 first state (of five)

provenance

John Malcolm, Poltalloch, Argyleshire, Scotland and London (cf. Lugt 1489)

British Museum, London, acquired from the above in 1895 (cf. for the museum’s stamps designated to the Malcolm collection Lugt 1780–81; all the above according to the annotated Colnaghi label on the old backing of the frame)

P. & D. Colnaghi & Co., London (their stock no. in pencil on the verso C.21644)

Percival Duxbury (1872–1945), Bredbury, Cheshire (acquired from the above in 1936)

Lilian Honor Lewis (by descent; d. 2013)

New Hollstein lists three other impressions on Chinese paper.

Jan Lutma (c. 1584-1669) was a master gold and silversmith; he holds an object with a turned stem (possibly a candlestick) in his right hand, and on the table at his left is a drinking bowl.

Rembrandt used a fine needle to draw the portrait and furniture; then enriched the plate through hatching and drypoint. In this impression one can observe substantial drypoint burr, particularly in Lutma’s coat. In the second state Rembrandt added a window in the room (with a signature and date in the upper left pane), and shadows on the wall.

Rembrandt Harmensz. van Rijn
1606 Leiden – Amsterdam 1669

Christ at Emmaus: the larger plate 1654

etching and drypoint;

Bartsch 87, White/Boon second state (of three); Hind 282; The New Hollstein 283 second state (of five)

provenance

August Artaria, Vienna (Lugt 33);

his sale, Artaria & Co., Vienna, May 6–13, 1896, lot 534, described as superbe épreuve avec beaucoup de barbes. Rare.

Julius Rosenberg, Copenhagen (Lugt 1519 and 1520);

his sale, C.G. Boerner, Leipzig, May 1–2, 1901, lot 178, described as prachtvoller Abdruck des zweiten Zustandes, mit starkem Grat. … Aus Sammlung Artaria.

Dr. Julius Elischer von Thurzóbánya, Budapest (Lugt 824)

P. & D. Colnaghi & Co., London (their stock no. in pencil on the verso C. 12793)

Percival Duxbury (1872–1945), Bredbury, Cheshire (acquired from the above in 1936)

Lilian Honor Lewis (by descent; d. 2013)

An extraordinarily fine very early impression, with substantial burr from the drypoint work added in this state. Subsequent states are posthumous.