Rembrandt, Harmensz van Rijn, Curly Headed Man with a Wry Mouth, c. 1635
Harmensz van Rijn Rembrandt, Etching, Curly Headed Man with a Wry Mouth, c. 1635
|Artist:||Rembrandt, Harmensz van Rijn (1606 - 1669)|
|Title:||Curly Headed Man with a Wry Mouth, c. 1635|
|Image Size:||2 1/2 in x 2 3/8 in (6.4 cm x 6 cm)|
|Sheet Size:||2 3/4 in x 2 9/16 in (7 cm x 6.5 cm)|
|Framed Size:||17 3/4 in x 17 1/2 in (45.1 cm x 44.5 cm)|
|Edition:||Likely a lifetime impression, this work is accepted as by the hand of Rembrandt by Nowell-Usticke and Bartsch (New Edition); rejected by others, Björklund and Hind. According to Nowell-Usticke, a State I (of II) impression; Biörklund State I (of II); Hind State I (of II); this work is listed by Nowell-Usticke as a very rare sketch, with less than 30-50 copies extant.|
|Condition:||This work is in excellent condition.|
|24 Hour Sale:||40% Off: $7,200|
This work is likely a lifetime impression which means it was created from a plate made while Rembrandt was still alive. The subject is fascinating, as the man appears somewhat wary of his surroundings. The darkness of his face adds to the sense of mystery surrounding this subject making it a very rare and interesting work to own.
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Tilting his head to the viewer's left and glancing with his eyes to the right, this subject appears somewhat wary of his surroundings. As stated by the title, his head is covered with thick, curly hair that wasps out in all directions. His wry mouth, or tilted jaw, appears to swerve slightly to the left, and he turns his face as if to hide this imbalance in his features. His garment is simple yet his face is quite detailed, shaded in with cross-hatched lines that add a sense of depth and expression. The darkness of his face, perhaps, adds to the sense of mystery surrounding this subject.
Created c. 1635, this work is likely a lifetime impression. It is listed by Nowell-Usticke as a very rare sketch, with less than 30-50 copies extant. Accepted as by the hand of Rembrandt by Nowell-Usticke and Bartsch (New Edition); rejected by others, Björklund and Hind. According to Nowell-Usticke, a State I (of II) impression; Biörklund State I (of II); Hind State I (of II). This piece has the collector's mark 'CD' (not in Lugt) on verso; also with the markings "Doublette"
1. Collection of 'CD' (marked in the lower left on the verso, not in Lugt).
2. Collection of Kunstsammlungen des Landesmuseums Darmstadt (museum collector's mark in the center on the verso with the stamp 'doublette;' not in Lugt).
3. Unidentified collector's mark in the lower right on the verso.
Catalogue Raisonné & COA:
1. Bartsch. The Illustrated Bartsch Vol. 50. Edited by Stephanie S. Dickey. New York: Abaris Books, 1981. Listed and illustrated as catalogue raisonné no. 305 (another example illustrated) on pg. 250.
2. Biörklund, George, Rembrandt's Etchings: True and False, 1968. Listed and illustrated as catalogue raisonné no. BB Rej. 54.
3. Hind, Arthur. A Catalogue of Rembrandt's Etchings. New York, 1967. Listed and illustrated as catalogue raisonné no. 137 with discussion on pg. 78.
4. Nowell-Usticke, G.W. Rembrandt's Etchings. Narberth, 1988. Listed and illustrated as catalogue raisonné no. B 305.
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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.