Harris Schrank Fine Prints

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, […]

Rembrandt Harmensz. van Rijn 1606 Leiden Amsterdam 1669 Ephraim Bonus, Jewish physician 1647 etching, engraving, and drypoint; 240 x 177 mm. Bartsch 278, White-Boon second (final) state; Hind 226; The New Hollstein 237 second (final) state provenance Hermann Weber, Bonn (Lugt 1383) Ferdinand, Prince of Saxe-Coburg and Gotha and King of Portugal (Lugt 968) C.G. Boerner, Neue Lagerliste 54 (1974), no. 33 (our stock no. in pencil verso 8356) private collection, Germany Ephram Hezekiah Bueno (15991665), usually referred to by his Latinized name Bonus, was a physician and writer who came from a Sephardic-Jewish family. He was a renowned doctor […]

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 […]