Harris Schrank Fine Prints

REMBRANDT HARMENSZ. VAN RIJN (1606-1669) Diana at the Bath etching, possibly with engraving circa 1631 on laid paper, with an indistinct watermark fragment a very fine, rich and lively impression printing clearly, evenly and with strong contrasts with thread margins in very good condition Plate 177 x 159 mm. Sheet 178 x 160 mm. Provenance Presumably Six Collection (without mark; see Lugt 1539a); probably Willem Six (1662-1733), Amsterdam, nephew of Rembrandt’s patron Jan Six (1618-1700); presumably sold posthumously as part of his entire print collection in one lot, in 1734. Presumably Jacobus Houbraken (1698-1780), Dordrecht and Amsterdam (according to Barnard’s […]

REMBRANDT HARMENSZ. VAN RIJN 1606 Leiden Amsterdam 1669 Death Appearing to a Wedded Couple from an Open Grave 1639 drypoint and etching; 109 x 78 mm Bartsch 109, White/Boon only state; Hind 65; New Hollstein 174, only state PROVENANCE William Bell Scott, London (Lugt 2607); his sale, Sothebys, London, April 20, 1895, lot 701 Alfred Gabriel Hubert, Paris (Lugt 130); his sale, Drouot (exp. A. Danlos), Paris, May 2529, 1909, lot 702, described as Superbe preuve dune pice que lon trouve gnralement faible; petite marge. Col.on Scott Richard Zinser, Stuttgart and New York (Lugt 5581) Joost Ritman (b. 1941), Amsterdam […]

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 […]