Lot 52
  • 52

Rembrandt Harmensz. van Rijn

Estimate
80,000 - 120,000 GBP
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Description

  • Rembrandt Harmenszoon van Rijn
  • Faust (B., Holl. 270; H. 260; BB. 52-4)
  • Etching on paper
  • 209 by 158mm; 8¼ by 6¼in
Etching and drypoint, circa 1652, a very fine, atmospheric impression of the first sate (of three), with rich burr, printed on oatmeal paper

Provenance

Ex coll. Ernest C. Innes, his sale Christie's 13th December 1935, sold for £155. According to owner's notes, this impression was formely in the collection of Frits Lugt.

Exhibited

Exhibited: London, Burlington House, Exhibition of Dutch Art, 1929 No. 770.

Condition

With thread margins, light rubbed areas along right edge of sheet verso (with a few minor associated paper disturbance visible recto), otherwise in good condition.
"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

Boon and White record five other impressions of this state on oatmeal paper in Boston, London, Metropolitan Museum, New York, Vienna and the Salomon collection in Turin. These impressions are among the earliest printed and are notable for the clean wiping, which reveals very clear details.

The present example is printed with particularly strong burr, especially effective in shrouding Faust's right sleeve, skull and the curtain at left.

The nature of the subject has been much debated. In 1679, Clement de Jongh noted an etching called Alchemist at Work, in the early eighteenth century it was first described as Faust, an interpretation generally accepted.