Rembrandt van Rijn Figurative Drawings and Watercolors

Rembrandt van Rijn 1606-1669 Dutch Jan Lutma, The Goldsmith Etching, engraving, and drypoint on paper New Hollstein’s second state of five Signed and dated “Rembrandt / F. 1656” (...

Rembrandt van Rijn 1606-1669 Dutch Man with Divided Cap Etching and drypoint on paper First state of three Signed "Rembrandt" (upper left) This exceptional etching was composed b...

Rembrandt van Rijn 1606-1669 Dutch The Death of the Virgin Etching and drypoint on laid paper State II of V Signed and dated "Rembrandt f. 1639" (lower left) In The Death of the Virgin, Rembrandt engages with traditional iconography but approaches it through a markedly humanized lens. Departing from the more common portrayal of a youthful, idealized Virgin, he depicts Mary as aged, emphasizing the gravity of her final moments. Unlike earlier compositions that typically include only Apostles, Rembrandt broadens the scene to incorporate women and a physician who gently checks her pulse, elements that, while not drawn from canonical scripture, enrich the scene’s emotional and narrative realism. At 15 1/2” high, it is also a remarkably large etching by the artist, adding to its dramatic impact and rarity. This emotionally rich scene unfolds within a shadowed, timbered chamber, its earthly gravity offset by a host of angels who hover above, delicately sketched in wisps of light. Rembrandt's handling of the etching needle is particularly free and expressive in this upper register, suggesting spiritual transcendence. Notably, he leaves visible the traces of earlier compositional decisions, such as the repositioned risers supporting the bed, offering rare insight into his creative process. 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 was then 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, known for his historical paintings. Rembrandt was an exceptionally gifted student and mastered his art in a mere six months. Now 22 years old, he returned to Leiden and was soon so highly regarded that he was able to take students of his own. Though known today primarily for his paintings, Rembrandt's fame spread outside the Netherlands thanks to his etchings...

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 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 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...