Rembrandt, Harmensz van Rijn, Lieven Van Coppenol, The Larger Plate, c. 1658
Harmensz van Rijn Rembrandt, Etching, Lieven Van Coppenol, The Larger Plate, c. 1658
|Artist:||Rembrandt, Harmensz van Rijn (1606 - 1669)|
|Title:||Lieven Van Coppenol, The Larger Plate, c. 1658|
|Reference:||B.283, H. 300, BB. 58-F|
|Image Size:||5 5/8 in x 5 3/16 in (14.3 cm x 13.2 cm)|
|Sheet Size:||6 7/8 in x 5 3/4 in (17.5 cm x 14.6 cm)|
|Framed Size:||21 in x 20 in (53.3 cm x 50.8 cm)|
|Edition:||According to Nowell-Usticke, this work is a State IX/X (of XI) impression. The plate has been cut down to the head only with a 16 mm lower margin. The impression is sharp and clear. Björklund State VI (of VI); Hind State VI (of VI).|
|Condition:||A dark, inky impression with wide margins and clear detail.|
|24 Hour Sale:||40% Off: $4,800|
Rembrandt, one of the world's most famous artists, depicts a well-known calligrapher in a moment of reflection. The detail and depiction of light and shadow in this work highlight the master etcher's talent.
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|This etching of calligrapher Lieven van Coppenol was commissioned by the subject
himself as a tool for self-promotion. As a collector and practitioner of calligraphy,
van Coppenol felt that he was exceptionally talented and often added poems praising
his vast talents beneath his etched portraits. In this version, Rembrandt focuses
on the play of light across van Coppenol's face, shown in three-quarter view.
Van Coppenol's bright eyes gaze just past the viewer, and he appears deep in
thought, as though contemplating what to write next. In earlier states of this
work, Rembrandt depicted van Coppenol sitting against a curtained background,
poised with quill in hand, preparing to write upon a blank sheet of parchment.
This portrait of a scholar appeals to collectors of the Master's work.
Created circa1658, this original etching, according to Nowell-Usticke, is a State IX/X (of XI) impression. The plate has been cut down to the head only with a 16-mm margin within the plate mark beneath the image. The impression is sharp and clear. This work is a Björklund State VI (of VI) and a Hind State VI (of VI). Printed on fine laid paper, this dark impression features a distinct plate mark all around.
Catalogue Raisonné & COA:
1. Björklund, G. Rembrandt's Etchings, True & False, 1968. Listed and illustrated as catalogue raisonné no. 58-F on pages 130-131.
2. Dickey, Stephanie S. Rembrandt: Portraits in Print, John Benjamins Publishing Company: Philadelphia, 2004. Discussed on pages 149-158. Earlier states listed as plates 167-172.
3. Hind, Arthur. A Catalogue of Rembrandt's Etchings, New York, 1967. Listed and illustrated as catalogue raisonné no. 300 on pages 118-119.
4. Münz, Ludwig. Rembrandt's Etchings: Reproductions of the Whole Original Etched Work, Vol. 1, Phaidon Press: London, 1952. Listed and illustrated as catalogue raisonné no. 78. Earlier states as plates 88-89.
5. Münz, Ludwig. Rembrandt's Etchings: Reproductions of the Whole Original Etched Work, Vol.2, Phaidon Press: London, 1952. Listed and illustrated as catalogue raisonné no. 78 on pages 68-69.
6. Nowell-Usticke, G.W. Rembrandt's Etchings, Narberth, 1988. Listed and illustrated as catalogue raisonné no. B. 283.
7. Schwartz, Gary. Rembrandt: All the etchings reproduced in true size, New York, 1977. Listed and illustrated as B 283.
8. White, Christopher & Karel Boon. Rembrandt's Etchings, Vol. I: Text, 1969. Listed as catalogue raisonné no. B.283.
9. White, Christopher & Karel Boon. Rembrandt's Etchings, Vol. II: Plates, Amsterdam, 1969. Illustrated as catalogue raisonné no. B. 283 on pages 134-135.
10. 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.