Rembrandt, Harmensz van Rijn, Jakob Thomasz Haringh (The Young Haring), 1655
Harmensz van Rijn Rembrandt, Etching, Jakob Thomasz Haringh (The Young Haring), 1655
|Artist:||Rembrandt, Harmensz van Rijn (1606 - 1669)|
|Title:||Jakob Thomasz Haringh (The Young Haring), 1655|
|Reference:||B. 275, H. 288, BB.55-E, B&W 275|
|Image Size:||4 5/8 in x 4 in (11.8 cm x 10.2 cm)|
|Sheet Size:||5 1/8 in x 4 3/8 in ( 13 cm x 11.1 cm)|
|Framed Size:||20 5/8 in x 20 1/8 in (52.4 cm x 51.1 cm)|
|Signed:||This work is signed and dated in the plate along the right [see window pane] by Harmensz van Rijn Rembrandt (Leiden, 1606- Amsterdam, 1669): 'Rembrandt f. 1655'.|
|Edition:||A Nowell-Usticke early State IV (of V), the plate cut down to head and shoulders only; Hind State V (of V); Biörklund State V (of V); Boon & White State V (of V).|
|Condition:||Clearly defined plate mark all around with considerable margins, this work is a dark, bold impression.|
|24 Hour Sale:||40% Off: $4,800|
Jakob Thomasz Haringh was the son of the elder Jacobsz Haringh (a prominent art auctioneer during the mid-17th century). The younger Jakob Haringh, featured here, is elegantly portrayed in an austere seated position by a multi-paned window. The value and craftsmanship of the work can be seen in the light that streams through and illuminates the majority of the work. This allows for a greater depth of field and sense of space within the portrait, making the work a great addition to any collection.
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|Created in 1655, this work is an exquisite portrait of the young Jakob Thomasz
Haringh (also known as Pieter Haringh) signed and dated in the plate at the
right by Harmensz van Rijn Rembrandt (1606 - 1669): 'Rembrandt f. 1655' . Printed
on a fine, laid paper, this work is a Nowell-Usticke early State IV (of IV);
Hind State V (of V); Biörklund State V (of V); Boon & White State V
Jakob Thomasz Haringh was the son of the elder Jacobsz Haringh (a prominent art auctioneer during the mid-17th century, see B.274). The younger Jakob Haringh, featured here, is elegantly portrayed in an austere seated position by a multi-paned window. The light which streams through illuminates the majority of the work, mainly along the left side of his face and some of the background, allowing for a greater depth of field and sense of space within the portrait. Haring was a prominent lawyer for the Court of Insolvents. In 1657-1658, he was to direct the dissolution of Rembrandts (Leiden, 1606- Amsterdam, 1669) assets upon his bankruptcy. This work is noted in pencil on verso 'From the Duke de Traviso's Collection.'
1. From the private collection of the Duke de Traviso (noted in pencil on verso).
Catalogue Raisonné & COA:
1. Biörklund, G. (1968). Rembrandt's Etchings: True and False. Esselte Aktiebolag: Stockholm. Listed and illustrated as catalogue raisonné no. BB 55-E.
2. Dickey, S. (2004). Rembrandt: Portraits in Print. John Benjamins Publishing Company: Philadelphia. Listed and illustrated as plate 161 on pg. 314.
3. Hind, A. (1967). A Catalogue of Rembrandt's Etchings. Da Capo Press: NY. Listed and illustrated as catalogue raisonné no. 288 on pg. 115.
4. Münz, L. (1952). A Critical Catalogue of Rembrandt's Etchings, Vol. II - Text. Phaidon Press: London. Listed as catalogue raisonné no. 75 on pg. 68.
5. Münz, L. (1952). Rembrandt's Etchings, Reproductions of the Whole Original Etched Work, Vol. I - Plates. Phaidon Press: London. Listed and illustrated as plate 84 (catalogue raisonné no. 75).
6. Nowell-Usticke, G.W. (1988). Rembrandt's Etchings, States & Values. Hacker Art Books: NY. Listed and illustrated as catalogue raisonné no. B 275.
7. White, C. & Boon, K. (1969). Rembrandt's Etchings, An Illustrated Critical Catalogue, Vol. 1 - Text. Van Gendt & Co.: Amsterdam. Listed as catalogue raisonné no. B 275.
8. White, C. & Boon, K. (1969). Rembrandt's Etchings, An Illustrated Critical Catalogue, Vol. 2 - Plates. Van Gendt & Co.: Amsterdam. Illustrated as plate B 275 on pg. 222-3 (States I & II shown only).
9. A Certificate of Authenticity will accompany this work.
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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.