Rembrandt van Rijn Art

Rembrandt van Rijn 1606-1669 Dutch Jan Uytenbogaert, Preacher of the Remonstrants New Hollstein Dutch and Flemish (Rembrandt) 153, state 5/9 Bartsch 279, state 5/6 Printed by Remb...

Blind Playing the Violin is an etching on ivory-colored paper realized after an etching by Rembrandt. This wonderful piece of art belongs to a late 19th-century edition.  Good cond...

Rembrandt van Rijn 1606-1669 Dutch Circumcision in the Stable Etching on paper New Hollstein's 280, first state of II Signed and dated "Rembrandt f. 1654" (upper left and center l...

Rembrandt van Rijn Self Portrait Leaning on a Stone Sill - Etching on Laid Paper Etching from the second state of Rembrandts Self Portrait Leaning on a Stone Sill. This print on lai...

Excellent proof in unique state, signed in plate and dated 1635. Printed on paper with countermark "Letter VD" Holland 17th Century. In very good state of conservation, with some m...

Lifetime impression, realized around 1652. Original etching. Splendid proof in the final state with three short vertical lines added to the peasant's travel backpack. At the botto...

Rembrandt van Rijn 1606-1669 Dutch The Blindness of Tobit: The Larger Plate Etching on paper The New Hollstein Dutch 265 first state (of II) Signed and dated "Rembrandt f. 1651" (lower right) The Blindness of Tobit: the Larger Plate is an extraordinary etching and drypoint by the master Rembrandt van Rijn, created in 1651. This work captures a poignant moment from the apocryphal Book of Tobit (Tobit 11: 5-11), where the blind Tobit, in his anxious anticipation, knocks over a spinning wheel as he rushes to greet his long-lost son. This etching exemplifies Rembrandt's unparalleled ability to convey deep emotion and narrative complexity through the etching technique. In this finely detailed etching, Rembrandt uses light and shadow to heighten the emotional impact of the scene. The dark ink behind Tobit emphasizes his isolation, while the brightness of his beard, untouched by ink, draws attention to his anguished expression. The careful composition, with everyday objects such as the spinning wheel and fish hanging from the hearth, adds depth to the narrative, illustrating Tobit's impoverished life. The small dog nestled into Tobit's garment symbolizes his son's approaching return. The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman...

Rembrandt van Rijn 1606-1669 Dutch Jan Uytenbogaert, the Goldweigher Etching on paper The New Hollstein Dutch 172 second state (of three) Signed and dated "Rembrandt f. 1639" (lower left) Rembrandt's Jan Uytenbogaert, the Goldweigher is an exceptional etching that captures the essence of Holland’s Receiver-General, or chief tax collector, at work. This highly detailed and intimate portrait demonstrates Rembrandt’s masterful ability to combine narrative depth with technical brilliance, offering a glimpse into both the professional and personal life of Uytenbogaert, who played a pivotal role in the artist's own life. Rembrandt likely created this etching as a gesture of thanks to Jan Uytenbogaert, who helped the artist secure a house in Amsterdam in 1639. At the time, Rembrandt was short on funds, awaiting payment for his works for Frederik Hendrik, Prince of Orange. Uytenbogaert’s successful intervention allowed Rembrandt to complete the purchase soon after. In this etching, Rembrandt depicts Uytenbogaert seated at a carpet-covered table, meticulously weighing gold with a set of scales while recording payments in a ledger. The scene is rich with detail: a servant kneels beside him, accepting a bag of gold, while a couple waits to enter with more gold. Rembrandt's use of light and shadow adds depth and drama, particularly in the portrayal of Uytenbogaert’s luxurious fur coat and hat, rendered with delicate drypoint lines. The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman...

Rembrandt van Rijn 1606-1669 Dutch The Ringball Player Etching on paper New Hollstein’s first state of two Signed and dated lower left: Rembrandt F. 1654 Among the foremost figures of the Old Masters, the esteemed Dutch artist Rembrandt van Rijn is often regarded as the preeminent etcher in art history. As the most significant Dutch printmaker, his body of work includes nearly 300 authenticated prints, marked by pioneering techniques that set new standards in the medium. This exceptional etching, titled The Ringball Player, exemplifies the intricate artistry and meticulous detail that distinguish Rembrandt's prints. This print is closely related to the ones of the early life of Christ, etched in the same year, and of a similar size, using long straight hatching lines to model the figures and the background. In Rembrandt’s oeuvre, this is also one of the very rare subject matters connected with sports and leisure time. The title refers to ringball, a reference to a form of indoor croquet...

Rembrandt van Rijn 1606-1669 Dutch Canal with a Large Boat and a Bridge Etching on paper New Hollstein Dutch 252: second state of two Signed and dated lower left: Rembrandt. f. 1650 / (d and 6 en verso) Among the very best of the Old Masters stands the revered Dutch artist Rembrandt van Rijn, arguably the greatest etcher in the history of art. The most important Dutch printmaker of all time, his oeuvre features close to 300 authenticated prints, and his innovative techniques in the medium are without precedent. This superb etching, entitled Canal with a Large Boat and a Bridge, displays the artistry and detail for which Rembrandt's prints are renowned. This small and exquisite landscape is often understood to be the pendant of another small etching from the same year, Canal with an Angler and Two Swans(NH 253), based on their similar size, style and rounded platemark above. The typical Dutch motif of a boat moored in a canal is enriched here with a rocky landscape in the left background among other picturesque elements. This composition is a very fine, warm impression with significant burr, from the second state. The son of a miller...

A real etching after Rembrandt's masterpiece By Amand Durand Published circa 1900 On good quality wove type paper Unframed.

Rembrandt van Rijn 1606-1669 Dutch Christ Driving the Money Changers from the Temple Etching on paper New Hollstein's 139, state I of IV Among the very best of the Old Masters stands the revered Dutch artist Rembrandt van Rijn, arguably the greatest etcher in the history of art. Certainly the most important Dutch printmaker of all time, his oeuvre features close to 300 authenticated prints, and his innovative techniques in the medium are without precedent. This superb etching, entitled Christ Driving the Money Changers from the Temple, displays the artistry and detail for which Rembrandt's prints are renowned. In this work of art, Rembrandt presents a famous religious scene—a moment of pure pandemonium. In the biblical account of this event, Christ enters a temple and is overtaken by rage at the sight of merchants and money changers conducting their business within. Rembrandt captures Christ’s reaction, actions driven by his desire to reclaim the space as a place of worship. Christ is positioned at the center of the composition, wielding ropes as a whip, having just overturned a table, causing a merchant to scramble for his coins spilling onto the floor. The scene is replete with chaos, including figures running, shouting and animals in disarray, embodying the dynamic virtuosity for which Rembrandt is renowned. Likely inspired by a similar composition from Albrecht Dürer, this depiction is a testament to Rembrandt's mastery of conveying complex narratives through his meticulous hand. Rembrandt has enjoyed much acclaim both during his lifetime and today for his paintings and prints. Emerging in the region in the early 16th century, printmaking experienced increased popularity during Rembrandt's lifetime, when an affluent new merchant class began spending their disposable income on artworks. Among the many printmakers of the era, Rembrandt stood out as he exploited the medium to its fullest. He often utilized techniques from his paintings, such as chiaroscuro, and successfully translated them to copper plate. His fluid lines, delicate cross-hatching and subtle tonalities allowed Rembrandt to achieve the sense of atmosphere that set his works apart. Versions of this etching reside in numerous museums, including the National Gallery of Art in Washington D.C., the Metropolitan Museum of Art and the St. Louis Museum of Art, among others. Printed circa 1635 Etching: 5 1/4" high x 6 1/2" wide (13.34 x 16.51 cm) Frame: 20 1/4" high x 16 1/4" wide (51.12 x 40.96 cm) Literature: Arthur M. Hind, A Catalogue of Rembrandt's Etchings...