Rembrandt, Harmensz van Rijn, Les Baigneurs (The Bathers)
Harmensz van Rijn Rembrandt, Etching, Les Baigneurs (The Bathers)
|Artist:||Rembrandt, Harmensz van Rijn (1606 - 1669)|
|Title:||Les Baigneurs (The Bathers)|
|Reference:||[B.195, H. 250, BB. 51-B, NU. 195, B&W. 195, M. 138)|
Original Rembrandt Etching
|Image Size:||5 3/8 in x 4 1/4 in (13.7 cm x 10.8 cm)|
|Sheet Size:||5 7/8 in x 4 3/4 in (15 cm x 12 cm)|
|Framed Size:||23 1/4 in x 22 in (59 cm x 55.9 cm)|
|Signed:||Signed and dated by Harmensz van Rijn Rembrandt (Leiden, 1606 - Amsterdam 1669) in the plate.|
|Edition:||Nowell-Usticke State II (of III); Boon & White State II (of II); Hind State II (of II); Bjorklund State II (of II)|
|Condition:||A superb impression with wide margins; in very good condition|
|24 Hour Sale:||40% Off: $5,400|
A valuable asset to any art collection, Les Baigneurs (The Bathers) is interesting for many reasons, the most important being the rarity of Rembrandt to depict multiple scenes in one etching. Rembrandt presents three situations. The first features a pair of subjects in the foreground, seemingly caught in action having just come out of the river after their bath. The second features a simplified form of a character reaching for their wrap or towel that appears to be either hanging or drying, as he too has just finished bathing. The third feature depicts a faint, intriguing silhouette of someone either waiting or observing the scene before us, adding a sense of mystery to the work.
Read more about our pricing
Gallery Price: This is a common gallery retail price
Read more about our pricing
We have openings for a few new members each day. Members receive exclusive offers on our entire inventory.
Created in 1651, Les Baigneurs (The Bathers) is detailed in Nowell-Usticke State II (of III) impression, with the plate edges evened and corners slightly rounded. No scratches can be found in the sky and the plate has been wiped clean, before the acid and the addition of the letter ‘B’ on the right [Boon & White State II (of II) ; Hind State II (of II) ; Bjorklund State II (of II) ]. Signed and dated within the plate by Harmensz van Rijn Rembrandt (1606 – 1669) in the lower left: ‘Rembrandt f. 1651.’
In this piece, we see three situations or vignettes at play: the first features a pair of subjects in the foreground, seemingly caught in action having just come out of the river after their bath. The second features a simplified form of a character reaching for their wrap or towel that appears to be either hanging or drying, he too has just finished bathing. The third is the most intriguing – in the background is the faint silhouette of someone either waiting or observing the scene before us. He/She is featured in the far distance, however the placement of the figure is central to the composition, secondary to the pair of figures in the foreground.
Catalogue Raisonné & COA:
1. Biörklund, George. Rembrandt’s Etchings: True and False, Stockholm, 1968. Listed and illustrated as cat. no. BB. 51-B on pg. 110.
About the Framing:
About Us: Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We believe the most direct way to accomplish this is by establishing a lifetime of personal and professional relationships with our clients. More About Us »
Do you own a similar Rembrandt to sell? We offer free evaluations.
Biography of Harmensz van Rijn Rembrandt
Rembrandt was born in Leiden and died in Amsterdam. He was the son of a miller and a baker's daughter, and 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 he 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 these Rembrandt 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. Rembrandt's The Hundred Guilder Print is one of his most valuable and sought after etchings.