L13160

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Lot 32
  • 32

Rembrandt Harmensz. van Rijn

Estimate
200,000 - 300,000 GBP
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Description

  • Rembrandt Harmenszoon van Rijn
  • Christ Crucified Between Two Thieves: 'The Three Crosses' (B., Holl. 78; H. 270; BB. 53-A)
  • drypoint
  • Sheet: 388 by 452mm; 15¼ by 17¾in
Drypoint, 1653, a fine impression of the fourth state (of five), printing with rich burr, creating a dramatic and tonal contrast

Provenance

Ex coll. Johann Sigmund Bermann (L. 235)

Literature

Erik Hinterding, Ger Luijten and Martin Royalton-Kisch, Rembrandt the Printmaker, London, 2000, pp. 297-304

Condition

With thread margins, trimmed to or on the platemark in places, a vertical repaired tear (circa 35mm) at right of upper edge, a light pressure mark line across the upper edge at centre, pale paper discoloration, occasional minute fox marks, a soft diagonal fold from centre of upper edge to the left (mainly visible verso), other minor defects mainly along edges of sheet, otherwise in good condition, unframed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Rembrandt's Three Crosses rivals the impact of a painting through its subject matter and grand scale. It is often singled out as the masterpiece of his printed oeuvre.

Executed almost exclusively in drypoint, the work displays Rembrandt's sensitivity and dexterity to the medium. Realising the fragility of the drypoint technique, he knowingly printed a small edition which increased the rarity of each impression pulled. The printing plate was worked with enormous care and Rembrandt experimented with different inking effects to achieve different tonalities.

He created extraordinary results through the single use of this medium, with the drypoint lines creating an overall rich, velvety effect, for which this print is renowned. The sophisticated spectrum of tones and volumes in the composition was unparalleled at the time.

The fourth state (of five) is one of the most exciting states of this subject. This particular state differs drastically to the previous three states and was even thought to be a different plate until late in the eighteenth century. Rembrandt's use of a dense network of lines and sparser use of light imbues the present impression with a more dramatic and imposing atmosphere, as well as diverting attention from the remains of previous states. 

As well as illustrating the virtuosity of Rembrandt's technical skills, the work also demonstrates his ability to capture emotional intensity in his subjects. Here, he chose to illustrate the moment of Christ just before his death on the cross, capturing his physical anguish and pain through the expression on his face.