Rembrandt van Rijn Figurative Prints

Rembrandt van Rijn 1606-1669 Dutch The Virgin and Child with the Cat and the Snake Etching laid on paper New Hollstein's first state of IV Signed and dated "Rembrandt. f. 1654" (u...

A very good, dark impression of this etching, with strong contrasts and little to no sign of wear. Biörklund's second state (of 2); Usticke's fifth state (of 7); New Hollstein's sixt...

This stunning etching was realized by the baroque master Rembrandt van Rijs in Holland, 1634. The composition pictures Jesus Christ with a hand outstretched, identified with his long flowing locks, donning a robe with a his hand outstretched as he addressed the female figure next to him. The lady holds the well chain with the bucket of freshly drawn water resting on the edge of the cobbled rock well. The lady looks on in rapt attention, one hand resting on the crumbling edge of a embankment. In the background there are a series of archways, and two men in the midst of gossiping (perhaps at the sight of Jesus). Rembrandt executed the etching in delicate chiaroscuro that masterfully illustrates the light, perspective and emotion of the scene as only he is able to. The work depicts Jesus Christ and the woman of Samaria recalling the passage from the biblical verse John 4:5-30 in which Jesus speaks to a peasant Samaritan woman fetching water from a well. "There came a woman of Samaria to draw water. Jesus said to her, 'Give me a drink.' For his disciples had gone away into the city to buy food. The Samaritan woman said to him, 'How is it that you, a Jew, ask a drink of me, a woman of Samaria?' For Jews have no dealings with Samaritans. The parable demonstrates Jesus' kind regard for all peoples regardless of social stature. With its elegant composition and incredible artistry (by one of the most influential and celebrated artists of all time), this work promises to delight discerning collectors of historically important works. It represents a winning acquisition for lovers of fine art (especially those with an interest in first rate Renaissance works), and also those with a penchant for religious and biblical art...

Artist: Rembrandt Van Rijn (Dutch 1606-1669) Title: Abraham and Isaac Medium: Etching on Laid Paper (Second & Final State) Year of Work: 1645 Moveme...

Original etching printed in black ink on laid paper. Signed in the plate in the title margin below the image Rembrandt f. 1635. A fine impression with strong contrasts; Biörklund's...

Signed in the plate.

The Death of the Virgin is an etching with drypoint tweaks on wire rod double filigree paper, realized in 1639 by Rembrandt Harmenszoon van Rijn (Leiden, 1606 - Amsterdam, 1669). Probable specimen of III state on three (according to White & Boon), IV on four (following Biörklund-Barnard). Signature and date on plate on the lower left corner “Rembrandt f. 1639". The paper has a cluster watermark with symmetrical elements in the center (similar to Ash Grapes B.a.) and a second watermark written on 4 lines (perhaps identifiable with Ash Words C.a.). Superb specimen on doubly watermarked paper: the first on four lines dating back to around 1764 and widely diffused in Normandy and Germany; the second, clustered, traced back to the second decade of the 17th century. Sheet characterized by a legible and appreciable impression for the chiaroscuro; good conditions of conservation, even though some thinning is reported, in particular along the left margin and on the lower left corner, together with small gaps visible on the back and a superficial deposit of particles. Reference: Gersaint 1751, p. 71, n. 97; Bartsch 99; Hind 1924, n. 161; Biörklund-Barnard 1957, n. 39, IV; New Hollstein (Dutch & Flemish), n. 173 (Rembrandt); Hinterding et al. 2000 n. 32.III; White & Boon 1969, n. 99.III. One of the most interesting works with a religious subject by the great old master, for both the compositional freedom and the technical expertise. We do not know who the customer was; it could have been a Catholic client, but this hypothesis seems to be at least doubtful precisely because of the peculiarity with which the episode is narrated. Certainly, this artwork is linked to a precise market request, given its size - this is the second largest incision of the artist - and the commitment to such an important work. A more detailed description of this religious event is described particularly well in the Legenda Aurea by Jacopo da Varagine, a guiding text in the Middle Ages for all the artists who wanted to portray the Death of the Virgin: an angel appeared to Mary announcing her imminent death. It is told that the Apostles, dispersed in the four corners of the world to proclaim the Gospel, were miraculously transported to Mount Zion to be near them. Disagreeing with other exegetes, Hinterding claims that Rembrandt knew the Legenda but was inspired by it in an original way, combining two moments in a single choral scene. Indeed, the scene depicted by the artist takes place in the bedroom of the Virgin: the angel appears at the top, accompanied by the cherubs, while the Apostles gather around her bed. For this marvelous etching, in addition to the aforementioned text by the Dominican friar da Varagine, Rembrandt certainly also looked at two fundamental works (to understand the genesis of the composition): the Death of the Virgin by Albrecht Dürer, from the silographic series of the Life of the Virgin, of which he owned a specimen, perhaps bought at auction in 1638, and a stained glass window designed by Dirck Pietersz Crabeth (1501-1574), in the Oude Kerk in Amsterdam. From Crabeth, he took the figure in the foreground that is reading the Holy Scriptures, perhaps the personification of the Church, and the canopy bed that stands out at the center of the scene. The young man with long hair described on the right, perhaps San Giovanni Evangelista, is instead a quotation from the Adoration of the Magi (1513) by Lucas Van Leyden, an artist much appreciated by Rembrandt. In Rembrandt's version of Mary's farewell, there are not only the Apostles: around her there are men and women, young and old, someone, intrigued, peeks out from behind the bed or a curtain, in the background, on the right, others pray kneeling...

Rembrandt, “ La Synagogue des Juifs, 1648 Etching on watermarked paper . Beautiful artist’s proof representing the interior of a Synagoge with people. Good condition, except some l...

Superb etching and drypoint on cream paper, attached on ivory colored cardboard. Lettered on the upper left of the plate with the artist's monogram "RHL (in ligature) f". Third state...

An original etching on laid paper by Dutch artist Rembrandt Harmenszoom van Rijn (1606-1669) titled “The Tribute Money”, c. 1635. A later impression of New Hollstein’s second state (...

Artist: Rembrandt Van Rijn (Dutch, 1606-1669) Title: The Card Player Year : 1641, printed 2000 Medium: Etching Paper: Verge Image (plate mark) s...

Original etching printed in black ink on laid paper Signed in the plate lower left Rembrandt f., dated in the plate lower right 1634. A strong and dark 17th century/lifetime impr...