Rembrandt

Rembrandt — marelibri

Abraham Caressing Isaac Benjamin

1780réf. 180325101780. No binding. Near fine. van Rijn Rembrandt. Single etching printed to recto only plate margins: about 4.5" by 3.5" A late 18th-century restrike likely by Claude-Henri Watelet 1718-1786 of Dutch master Rembrandt van Rijn's 1606-1669 etching "Abraham Caressing Isaac Benjamin". While producing a body of work that continues to be treasured 400 years after his lifetime Rembrandt experienced a great deal of loss in his personal life losing three children in infancy and his beloved wife Saskia after the birth of their fourth child - the only one to survive to adulthood. The look of quiet sadness in this etching on the face of Abraham perhaps echoes some of that loss experienced by Rembrandt while the face of the child shows only joy at being so closely held by his father. Rembrandt's work varies greatly an aspect that sets him apart from many of his contemporaries. His work included biblical scenes such as that seen in this work but was not limited in that respect. He worked in portraits including what were considered remarkably sincere self-portraits landscapes nudes animals still-life and mythological scenes in a variety of mediums. He was producing during an important period in the Netherlands a wealthy cultural high-point known as the Dutch Golden Age. The innovations of this period with a strong contribution from Rembrandt himself paved the way for many of the important movements that followed. Rembrandt produced etchings for almost his entire career until he was forced for economic reasons to sell his press. His etchings more so than his paintings were responsible for much of his success during his lifetime. During his lifetime Rembrandt made hundreds of impressions from nearly 300 plates and about 80 plates still exist today. As a result the plates were used to make impressions for centuries after Rembrandt's death; what is remarkable about this particular example is that the margins are relatively complete whereas most Rembrandt etchings are found with margins trimmed often right up to the plate mark. Dating and authenticating plates is often a complicated process; this impression has been appraised and dated by a professional with a copy of the appraisal summary available upon request. __CONDITION: This is a near fine example bright and clean slight age-toning/soiling to outer margins which can be professionally cleaned small contemporaneous pencil annotation to lower margin the impression is rich and clear; near fine overall. ___POSTAGE: International customers please note that additional postage may apply as the standard shipping charge does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA ILAB and IOBA and we stand behind every book we sell. Please contact us with any questions you may have we are here to help. unknown

Swan's Fine Books · États-Unis4 400,00 $US≈ 3 938,42 €

van Rijn, RembrandtABAA

Abraham Caressing Isaac Benjamin

Swan's Fine Books · États-Unis4 400,00 $US≈ 3 938,42 €

Anonymous (Rembrandt School, possibly Willem DROST).Biblio.com

Diogenes searching for an honest man with a lamp.

1650réf. 2105Dutch mid-17th century drawing possibly by Rembrandt pupil Willem Drost. Depicted is Diogenes in robes with his lantern in his left hand and a staff in his right and a group of four figures. Diogenes the Cynic 4th cent. BC renounced material possessions and lived in poverty. He would go out with a lighted lantern in broad daylight to look for an honest man instead he would only find that everyone around him was morally corrupted. He would scare passersby with his lantern causing them to lose their mask and reveal their true intentions.In the present drawing the group of four is clearly scared by the lantern of Diogenes who seems to be towering over them. In fact the artist has placed Diogenes on a higher plane than the passersby an invention that effectively enhances the morality of the scene. This is not found in other contemporary depictions of the same story by artists like Rubens Sandrart Castiglione and Jordaens.The artistdisplays a masterful understanding and application of chiaroscuro. Not only does he use it for the composition he also applies it to benefit the narrative. Light is literally and figuratively at the center of the scene. The artist from the "Rembrandt school" who made most use of stark chiaroscuro in his drawings was Willem Drost 1633-1659. He became a student of Rembrandt around 1650 which corresponds with the dating of the watermark. The style of drawing is also close to drawings attributed to Drost. The facial type of Diogenes in particular the pointy nose corresponds with that found in each of Drost's drawings in the Rijksmuseum. Also the hatchingsmatch those in other works by Drost who made much use of individual lines instead of a continuous zig-zagging stroke and penstrokes of varying thickness to create depth in his compositions Bonny van Sighem 2000.Condition: Number 3 in pencil at the bottom previous attribution to Ferdinand Bol written in pencil on the back. Several small brown spots and a couple minor defects including one on the face of the central figure in the group top edge slightly frayed and creaded. Old repair with tape on the back at the top.Literature: B. van Sighem 'attributed to Willem Drost David Prevents Abishai from Killing Saul Amsterdam c. 1650 - c. 1655' in J. Turner ed. Drawings by Rembrandt and his School in the Rijksmuseum online coll. cat. Amsterdam 2000 Bonny van Sighem 2000; for the watermark cf. Churchill fig. 305; Heawood 305 & 307.

ARTEM · Pays-Bas4 500,00 €

PICART, Bernard, partly after REMBRANDT and othersBiblio.com

Recueil de lions dessinez d'après nature par divers maitres & gravez . Divisé en six livres chacun de six feuilles. title-print: Receuïl de lions dessinés d'apres nature .

1729réf. K53AKICPY8C5Amsterdam 1729. Oblong 4to 18.5 x 24 cm. Bernard Picart title-print also: Paris François Chereau Late 19th-century pimpled red cloth with the spine at the head of the pages sewn on 3 recessed cords each board with a blind frame of thick-thin rules the spine with gold fillets and lettering. Rebacked in red cloth with a small piece of the original backstrip laid down. With a letterpress title-page in red and black with Picarts engraved Inter omnes device with stars and attributes of bookselling and art 1 title-print and 42 lion prints in 6 series on 37 leaves the title labelled A0 and the lion prints A1-6 B1-6 C1-6 D1-6 E1-6 & F1-12 plate size A-E 12 x 17.5 cm; F 7 x 11.5 cm the F series with 2 prints per page all engraved by Bernard Picart after drawings made by himself 8 all from life Rembrandt 18 Charles le Brun 6 Albrecht Dürer 1 Paulus Potter 1 and unattributed 8. Further with 1 woodcut decorated initial. Set in roman types with incidental italic. 1 1 blank 6 pp. plus 37 engraved plates with title-print & 42 lion prints. First edition of a complete set of six series of lion prints 30 full-page 12 half-page on 36 inserted leaves engraved by Bernard Picart 1673-1733 including at least 8 from his own drawings from life and others after drawings by various masters including 18 after Rembrandt. Series A begins with a print showing 12 detail figures of paws and claws and continues with prints showing 2 lions each except 1 showing 1 lion. Series B shows lion heads 1 to 3 per print all after Le Brun. The rest show one lion each except 1 showing 2 lions. They depict male and female lions standing reclining and eating.Picart a celebrated French artist-engraver studied with his father and worked in Paris together with François Chéreau who sold the present print series there. He came to Holland in 1710 living and working in Amsterdam from 1711 to his death in 1733.One print B3 is sophisticated coming from another early edition. With small stains in the corners at the head of the leaves and with an occasional minor marginal defect but still in good condition. The binding is rebacked as noted but is otherwise good.l Cat. Rijksmuseum I p. 160 title-page: www.rijksmuseum.nl/nl/zoekenq=%22recueil%20de%20lions%22&v=&s=&ii=0&p=1; STCN 7 copies incl. 1 lacking title-page plus 1 set of the engravings alone; for Picart: Thieme & Becker XXVI pp. 572-573. ABE CAT Art History hardcover

Asher Rare Books · Pays-Bas5 000,00 €

Rembrandt H van RijnBiblio.com

De Dood van de Maagd Maria. The Death of the Virgin Mary. Third and last state with a remarkable wide margin.

réf. 77108Amsterdam Rembrandt van Rijn 1639. Broadsheet. 43.1 x 33.6 print size 39.2 x 31.0 cm = The Death of the Virgin ranks amongst Rembrandt's most impressive and typical etchings especially among his works dealing with scenes from the New Testament. "About 1628 Rembrandt made his first etchings. Unlike drawing etching is not a natural counterpart to painting and his decision to begin etching meant taking a significant new direction in his career. Much of his international fame during his lifetime would be based on the widely disseminated prints he produced from the 300 or so etchings he made over the course of his career. Analysis of Rembrandts early etched oeuvre gives the impression that he was basically self-taught in this field. Whereas Rembrandts contemporaries adopted the regular almost stylized manner of applying lines and hatchings that could be found in the much more common copper engravings Rembrandt almost from the outset used a much freer technique which at first strikes the viewer as uncontrolled even nervous. Thanks to this new technique however he succeeded in developing a method of working that appears partly sketchlike yet which could also be described as painterly. The painterly quality of his etchings is mainly due to the way in which he achieved an extraordinarily suggestive play of light and dark and how he created a convincing sense of atmospheric space using different methods of hatching. The revolutionary change that took place in Rembrandts style between about 1627 and 1629 involved the role of light. By concentrating the light and by exaggerating the diminuendo of the force of light in relation to the distance from the light source Rembrandt arrived at what could crudely be termed 'spotlight' effects. In order to create convincing light effects Rembrandt-like Caravaggio his great Italian precursor in this field-had to compensate by leaving large areas shrouded in shadow." Brittanica. A fine etching being the third and last state with a remarkable wide margin. Very often Rembrandt's etchings are trimmed to the margin but this copy escaped from such barbarism. One hardly noticeable pinpoint hole otherwise fine. In all an excellent clean copy. Provenance: William Sharp of Manchester a friend of Sir Mark Masterman Sykes 1771-1823 one of the great connoisseurs of the period who owned nearly 100000 prints. Sharp's collection was sold at Sotheby's on March 1st 1878 and 11 following days. According to Lugt the collector's identity may also be that of William Sharp 1795-1881 of Enwood Court Handsworth near Birmingham 'a lead and glass merchant originally from Manchester' whom Waagen met during a visit to the midlands in 1854 or perhaps his father; Collection of Sir Lawrence Gowing 1918-1991. Hollstein XIX B99 p. 54. unknown

Antiquariaat Schierenberg · Pays-Bas15 000,00 €

REMBRANDT van RijnBiblio.com

Abrahams sacrifice.

1655réf. L2F9MTNGS4Y7Amsterdam 1655. 4to leaf 16.5 x 14 cm. Rembrandt Mounted with two hinges in a passepartout which is kept in sturdy cardboard folder covered on the outside with beige suede. Etching and drypoint on European laid paper plate size 15.7 x 13.2 cm. A fine impression of one of Rembrandt's most famous prints "Abraham's sacrifice" illustrating Genesis 22: 10-12 where Abraham after god ordered him to sacrifice his only son Isaac raises his knife to do so but is stayed by an angel who reveals that it was only a test of his obedience to god. In the Bible the angel merely speaks to Abraham but Rembrandt made the scene much more intimate with the angel reaching around Abraham from behind almost in an embrace holding his left arm with the knife just above the elbow and his right arm holding Isaac's head near the wrist. The Dutch States Bible of 1637 does place the angel behind Abraham but still only speaking to him. Rembrandt made the etching in 1655 and no variant states are known. It differs greatly from his 1635 painting of the same subject where the figures are not so closely united and neither Abraham nor the angel expresses such tenderness. The present example of the etching retains the finest lines very clearly for example in the background along the edge of the angel's left wing between the highest point of the wing and the top of Abraham's head and shows considerable burr giving the scene a powerful richness and contrast.The etching has two collectors' stamps on the back: those of Count Johann Nepomuk Ernst Harrach 1756-1829 and Senator Johann Karl Brönner 1738-1812. The etching came into the hands of the Dutch Dreesmann family art collectors and founders in 1887 of the Vroom & Dreesmann department stores who gave it to the Van Ravesteijn family before 1982 for services rendered. With minor foxing but otherwise in fine condition. A fine example of one of Rembrandt's most famous etchings.l Hind 283; Laurentius Rembrandts etchings 19; New Hollstein Rembrandt 287; Perlove & Silver Rembrandts faith pp. 86-92; White & Boon B35. ABE CAT Art History ABE CAT Bibles Sermons & Psalmbooks unknown

Asher Rare Books · Pays-Bas75 000,00 €

Rembrandt

Rembrandt

Siècle

Langue

Pays du libraire

Photos

Ajouté

Sujets

Catalogues

Siècle

Langue

Pays du libraire

Photos

Ajouté

Sujets

Catalogues

Siècle

Langue

Pays du libraire

Photos

Ajouté

Sujets

Catalogues