Harris Schrank Fine Prints

REMBRANDT HARMENSZ. VAN RIJN Leiden 1606 1669 Amsterdam The Flight into Egypt: A Night Piece 1651 etching and drypoint; 128 x 110 mm (5 x 4 3/8 inches) Bartsch 53, White/Boon sixth (final) state; Hind 253; The New Hollstein 262 sixth state (of ten) WATERMARK Strasbourg Lily with initials LC (described by Hinterding for the fifth state; the watermark is documented for prints dating between 1640 and 1651) PROVENANCE Carolyn Crossett Rowland, Boston A superb, extremely dark, and strictly contemporary (and thus quite rare) impression. It displays all the subtle nuances of the intrinsic play of light and dark characteristic […]

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 […]

Rembrandt Harmensz. van Rijn 1606 Leiden Amsterdam 1669 The Descent from the Cross by Torchlight 1654 etching and drypoint; sheet 213 x 163 mm (8 3/8 x 6 7/16 inches) Bartsch 83, White/Boon only state; Hind 280; The New Hollstein 286 first state (of four) watermark foolscap with five-pointed collar (Hinterding variant G-b-a; vol. 2, p. 123, vol. 3, p. 214 ill.) provenance P. & D. Colnaghi & Co., London (their stock no. in pencil verso C.31001) The Montclair Art Museum, Montclair, New Jersey; their sale, Christies, New York, May 13, 1997, lot 237 (sold to C.G. Boerner) private collection, […]

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 […]