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REMBRANDT, Harmensz van Rijn, The Hundred Guilder Print (Christ Healing the Sick) c.1649
Born in Leiden - died in Amsterdam Rembrandt, the son of a miller and a baker's daughter, was originally intended to become a scholar. He went to L… [Read biography »]
Harmensz van Rijn Rembrandt (1606 - 1669), Drypoint and Etching on rare, fibrous Oriental Paper, The Hundred Guilder Print (Christ Healing the Sick) c.1649  |
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| Artist: | Rembrandt, Harmensz van Rijn (1606 - 1669) |
|---|---|
| Title: | The Hundred Guilder Print (Christ Healing the Sick) c.1649 |
| Reference: | (B. 74, H. 236, BB 49-I, B&W 74), c.1649 |
| Medium: | Drypoint and Etching on rare, fibrous Oriental Paper |
| Image Size: | 15.5 in x 11.1 in (39.37 cm x 28.2 cm) |
| Sheet Size: | 15.5 in x 11.1 in (39.37 cm x 28.2 cm) |
| Framed Size: | approx. 40 in x 35.5 in (101.6 cm x 90.2 cm) |
| Signed: | This work is not signed or dated in the plate, as discussed by scholar Nowell-Usticke |
| Edition: | A Nowell-Usticke early/intermediate State II (of V); Hind State II (of III); Biörklund State II (of II); Boon & White State II (of II) |
| Condition: | A rich, fantastic velvety impression with even margins all around; a minor tear (1mm) in lower center margin and pinpoint thin showing on reverse only (not affecting image). This impression has many areas of rich Burr and selective wiping |
Price :Item# 1641 | $250,000 To speak directly with the Director, Alex Adelman, please call (510) 777-9970 / 1-800-805-7060. |
| Description: | |
Created in c.1649, this work is a remarkably large and stunning Nowell-Usticke early/intermediate State II (of V) ; Hind State II (of III) ; Biörklund State II (of II) ; Boon & White State II (of II) lifetime impression. Printed on pale fibrous Japan paper, enhancing the rarity and the elegance of this work, Nowell-Usticke notes this to be a very uncommon large piece with approximately 125-225 known impressions (Usticke 12, B 164) , Nowell-Usticke further notes, that "fine impressions are much sought after." The plate was cut into four parts in 1776 by Capt. Baille, making complete impressions in excellent condition an extreme rarity. This work is documented as B. 74, H. 236, BB 49-I, B&W 74. Described by noted Rembrandt scholar, Christopher White as "the apotheosis of Rembrandt's activity in etching in the 1640's, and according to popular opinion of his whole career, is the large etching known as 'The Hundred Guilder Print.'" (White, Rembrandt as an Etcher, 57) White traces the origin of the title to a print seller named Mariette, who sold an impression of this print to Rembrandt himself, for 100 guilders. The print has also been called Christ Healing the Sick, and Christ Healing the Sick with Small Children. The figures present in the composition reflect several characters from the New Testament, including Jesus, the Pharisees, and St. Peter. This scene, which is said to reflect elements from the Book of Matthew, is also said to reflect the essential Christian teaching: "Blessed are the poor in spirit; for theirs is the kingdom of heaven." The ability to depict an abundance of Christian iconography, coupled with the beautiful prose associated with the work-combine to make this a landmark piece in the canon of Rembrandt's religious works. In fact, it seems a fair assertion that the Hundred Guilder Print remains Rembrandt's most famous and desirable etched work. This is a marvelous, large-scale impression with rich and velvety areas-it is in wonderful condition and an essential addition to any Rembrandt collection. AUCTION COMPARABLE: Sotheby's, NY Prints Sale N08358 (Nov. 1, 2007) , - Lot 10, $325,000 Catalogue Raisonné & COA: 1) Nowell-Usticke, G.W., Rembrandt's Etchings, 1988. Listed as catalogue raisonné no. B 74. 2) Hind, Arthur, A Catalogue of Rembrandt's Etchings, 1967. Listed as catalogue raisonné no. 236. 3) Biörklund, George, Rembrandt's Etchings: True and False, 1968. Listed as catalogue raisonné no. BB 49-I. 4) Schwartz, Gary, Rembrandt: All the etchings reproduced in true size, 1977. Listed as catalogue raisonné no. B 74. 5) White, Christopher and Boon, Karel, Rembrandt's Etchings, Vol. 1, 1969. Listed as catalogue raisonné no. B 74. 6) White, Christopher and Boon, Karel, Rembrandt's Etchings, Vol. 2, 1969. Listed as catalogue raisonné no. B 74. 7) Boon, K.G., Rembrandt The Complete Etchings, 1965. Image listed as plate 216 with full size details. 8) White, Christopher, Rembrandt as an Etcher, 1969, Vol. 1. Discussed on pages 56-57. 9) White, Christopher, Rembrandt as an Etcher, 1969, Vol. 2. Listed as plate 62. 10) Ash, Nancy and Shelley Fletcher. Watermarks in Rembrandt's Prints. Documented as catalogue raisonné no. A.d on page 131 -133, 186, 208-209, 230, appendix. About the Framing: | |
| Style: | Old master |
Biography of Harmensz van Rijn Rembrandt
Harmensz van Rijn Rembrandt (1606 - 1669)
Born in Leiden - died in Amsterdam Rembrandt, the son of a miller and a baker's daughter, was originally intended to become a scholar. He went to Latin School and then enrolled at the University of Leiden. After only a year he left to become apprenticed from 1622 to 1624 to a mediocre Leiden painter, Jacob van Swanenburgh. More important for his artistic development, however, was the short period of about six months that be spent training under Pieter Lastman in Amsterdam. In 1625 he began a working association with his friend Jan Lievens in Leiden, finally moving to Amsterdam in 1631/32. In the history of Dutch painting this date represents an important milestone, as Rembrandt was to become the incomparable representative of Amsterdam art. He soon established himself in Amsterdam, received many commissions and opened a large workshop. In 1634 he married Saskia, a lawyer's daughter, who brought a considerable dowry into the marriage.
In 1639 he bought a large house, never quite paid for, which he filled with works of art and curios. Soon his passion for collecting exceeded his finances. In 1642, the year he painted "The Night Watch" Saskia died, and from 1649 he lived with Hendrickje Stoffels whom he could not marry without losing Saskia's legacy to their son Titus. In 1656 he went bankrupt, and his house and all possessions were put up for compulsory auction. Rembrandt spent his final years in poverty and isolation in rooms on the outskirts of Amsterdam, his powers of creation undiminished.
Rembrandt was the most universal artist of his time and he influenced painting for half a century, irrespective of schools or regional style. From his many fields of activity his pupils developed their own specialties, ranging from trompe l'oeil painting to the very detailed Leiden style. Unlike most Dutch painters of the time, who worked in fairly narrow fields, Rembrandt depicted almost every type of subject.
Although Amsterdam's leading portraitist for a decade ("Jan Six", Amsterdam, Foundation Six), also doing group portraits (The Staalmeesters," he was a painter of numerous biblical scenes ("The Sacrifice of Isacc," St. Petersburgh, Hermitage), of the mythological works works ("Philemon and Baucis", Washington, National Gallery) and landscapes ("Landscape in Thunders Brunswik, Herzog-Utrich-Museum) as well at life. In his work, branches of painting often overlapped, as for example in the group portrait "The Night Watch," where he took liberties with a number of rules. Rembrandt's fame rests on his continual development of pictorial devices and unvarying excellence of execution (unlike the works of Rubens, man which were left in part to workshop routine), a well as on his brilliant handling of light and shade and his ability to suggest states of mind through facial expression.
Apart from his greatness as a painter he was a powerful draughtsman and etcher. About 300 of his etchings survive. In this field he extended the technique and artistic possibilities, for example introducing the chiaroscuro effect, raising it to an art for in its own right. Amongst his approximately 15 drawings, the landscape scenes are particularly captivating in their serenity and harmony despite the spontaneous handling of line.
