Rembrandt, Harmensz van Rijn, The Artist's Mother Seated, in Widow's Dress and Black Gloves, 1632
Harmensz van Rijn Rembrandt, Etching, The Artist's Mother Seated, in Widow's Dress and Black Gloves, 1632
|Artist:||Rembrandt, Harmensz van Rijn (1606 - 1669)|
|Title:||The Artist's Mother Seated, in Widow's Dress and Black Gloves, 1632|
|Reference:||B.344, H.91, N.-U.344|
|Image Size:||5 5/8 in x 4 3/8 in (14.3 cm x 11.1 cm)|
|Sheet Size:||6 in x 4 1/2 in (15.2 cm x 11.4 cm)|
|Framed Size:||20 1/2 in x 19 1/4 in (52.1 cm x 48.9 cm)|
|Signed:||This work is signed by Rembrandt (Leiden, 1606 - Amsterdam,1669) in the plate in the upper left hand corner: 'Rembrandt'.|
|Edition:||A wonderful lifetime impression from the Nowell-Usticke State I (of III), as evidenced by the etched thumb in the upper left corner above the signature. This work is accepted by some, including Nowell-Usticke, and not accepted by Biörklund. Printed on a fine laid paper with the Arms of Amsterdam watermark (Ash & Fletcher. I, p. 33).|
|Condition:||This work is in excellent condition. A fine dark black impression with evidence of burr on the woman's lap and a delicate print of a thumb in the upper left of the sheet, with inky plate edges characteristic of an early impression.|
|24 Hour Sale:||40% Off: $9,000|
This work is listed as a lifetime impression, and as stated by Nowell-Usticke there are only approximately 125-155 known impressions making it a valuable investment. Rembrandt's technique of working in "live etching" format is clearly evident in this piece as the portrait has more active and fresh characteristics in the line and technique than in other portraits, which are reflective of the Master Artist's live interaction with his model, his own beloved mother. All of which enable the viewer to glimpse into the relationship and feelings Rembrandt had toward her, making it a truly touching 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 c. 1632, this work is a fine lifetime impression from the Nowell-Usticke
State I (of III), as evidenced by the strong and dark impression with deeply
etched areas, the large amount of burr in the lap, the finely etched thumb that
appears in the upper left of the sheet, and the inky plate edges. Printed on
a fine laid paper with the Arms of Amsterdam watermark (Ash & Fletcher I,
p. 33). Signed by Rembrandt (Leiden, 1606 - Amsterdam,1669) in the plate in the upper left hand corner, this
work is stated by Nowell-Usticke to be an uncommon print with approximately
125-225 known impressions. This work is accepted by some, including Nowell-Usticke,
and rejected by others including Biörklund.
Full of dark black intricately etched lines, this work is an intimate look at the artist's mother in a solemn moment. Highly textured with a multitude of cross-hatched lines, this work entices the viewer to inspect the work closely to see all of the complex details within the figure.
Seated in nearly full profile, the artist's mother appears in a state of calm reflection. This work portrays her dressed in clothes of mourning for the loss of her husband, the dark black widows dress is in strong contrast with the background as well as the black gloves on her hands. Leaving no minute detail unrealized, the small undulating ruffles and the fur-like trimming of the sleeves and collar in this figure are intricately rendered. Though a deep, dark black impression, the separate features of the figure and chair are masterfully composed and visually stand out with varied textures and amounts of hatched lines.
Catalogue Raisonné & COA:
1. Ash & Fletcher, Watermarks in Rembrandt's Prints, 1998. Listed and illustrated as I on pg. 33.
2. Nowell-Usticke, G.W., Rembrandt's Etchings, States and Values, 1988. Listed and illustrated as catalogue raisonné no. B 344.
3. Münz, Ludwig, Rembrandt's Etchings, 1952, Vol. II. Illustrated as catalogue raisonné no. Mz.327/I in plate 17.
4. Hind, Arthur, A Catalogue of Rembrandt's Etchings, 1967. Listed and illustrated as catalogue raisonné no.91.
5. A Certificate of Authenticity will accompany this work.
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.