Rembrandt Harmensz. van Rijn

Etching with drypoint and engraving, circa 1652, a very fine, atmospheric impression of the first state (of three), printing with burr, on japan paper

Ex coll. Alfred Morrison (L. 144)

With thread margins, in good condition apart from a pair of small stains (possibly rust marks) on the table at bottom centre, the lower right corner and extreme tip of other corners made up in pen and ink, a 20mm vertical repaired tear at centre of lower edge of sheet, a diagonal fold extending from the lower left corner to Faust's right sleeve mainly visible verso, two skinned areas along the upper and lower left edge of sheet (mainly visible verso), the sheet backed with a thin sheet of paper, other minor defects, 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."

Rembrandt's dexterity and sensitivity to the etching medium, along with the bold design and mysterious subject matter makes Faust one of the most outstanding works in the artist's printed oeuvre. 

The artist's virtuosity, with the contrast between a densely hatched background and sketched foreground, is demonstrated in this fine work. The present impression is printed with burr on Faust's cloak and right sleeve, skull and curtain at left. The plate is wiped cleanly, rendering clarity in the left background.

The subject of this print has been the source of debate among Rembrandt scholars. In Clement de Jonghe's inventory of 1679, the subject was described as the Practising Alchemist, whereas Valerius Röver later referred to the print as Doctor Faustus in 1731, a title that has generally been accepted ever since.