Harmensz van Rijn Rembrandt, Jan Asselyn, Painter, 1647


original Harmensz van Rijn Rembrandt Jan Asselyn, Painter, 1647 for sale

Signed Harmensz van Rijn Rembrandt etching, Jan Asselyn, Painter, 1647

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Artist:Harmensz van Rijn Rembrandt ( - )

Title:Jan Asselyn, Painter, 1647

Reference:B. 277, H. 227, Bb. 47-I, B&W 277

Medium:Original Etching

Image Size:8 3/8 in x 6 1/2 in (21.3 cm x 16.5 cm)

Sheet Size:8 1/2 in x 6 7/8 in (21.6 cm x 17.5 cm)

Framed Size:29 1/8 in x 27 1/4 in (74 cm x 69.2 cm)

Edition:According to Nowell-Usticke, a State IV (of VI) impression; Biörklund State IV (of IV); White & Boon State III (of III); Hind State III (of III).

Condition:Large print with fine etching and crisp detail.

Contact Us:1-800-805-7060

Gallery Price:
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Item # 2909
 
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Historical Description of this artwork


This strikingly rich and bold Rembrandt Jan Asselyn, Painter, 1647 features a handsome Jan Asselyn, depicted here in a comfortable, seated position. This impression is incredibly detailed – a perfect example of Rembrandt’s creative vision and innovative techniques in manipulating light throughout his works. Jan Assleyn was a fellow artist in Rembrandt’s day; born in Holland, he was a landscape painter whose works served almost as a journal of his travels. According to Rembrandt scholars, Jan Assleyn was small in stature and also had a deformed hand – he was nicknamed ‘Crabbetje’ as a result (neither feature is distinguishable in this portrait).

Created in 1647, this piece is a Nowell-Usticke State IV (of VI); Biörklund State IV (of IV); White & Boon State III (of III); Hind State III (of III). According to Nowell-Usticke, there are approximately 225-500 known impressions extant (Usticke 12, B. 277).

Catalogue Raisonné & COA:
Rembrandt Jan Asselyn, Painter, 1647 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).
1) Bartsch. The Illustrated Bartsch Vol. 50. Edited by Stephanie S. Dickey. New York: Abaris Books, 1981. Illustrated as catalogue raisonné no. 277.

2) Biörklund, George. Rembrandt’s Etchings: True and False, 1968, listed as BB 47-1 on page 103.

3) Boon, K.G. Rembrandt The Complete Etchings, 1965. Illustrated and listed as plate 207.

4) Hind, Arthur. A Catalogue of Rembrandt’s Etchings, 1967. Listed as cat. no. 227 with details on page 99.

5) Munz, Ludwig. A Critical Catalogue of Rembrandt’s Etchings, 1952, Vol. 2, London, 1952. Listed as cat. no. 71 on pg. 67.

6) Munz, Ludwig. Rembrandt’s Etchings: Reproductions of the Whole Original Etched Work, Vol. I, London, 1952. Listed and illustrated as plate 78.

7) Nowell-Usticke, G.W. Rembrandt’s Etchings, 1988. Listed as B 277.

8) White, Christopher & Karel Boon. Rembrandt’s Etchings, Vol. 1 Text, 1969. Listed as B 277 on page 129-30.

9) White, Christopher & Karel Boon. Rembrandt’s Etchings, Vol. 2 Plates, 1969. Listed as B 277 on page 226.

10) A Certificate of Authenticity will accompany this work.

About the Framing:
Rembrandt Jan Asselyn, Painter, 1647 is framed to museum-grade, conservation standards, presented in a complimentary moulding and finished with silk-wrapped mats and optical grade Plexiglas.

What Do I Get With My Purchase?

The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.

All catalogue raisonné and historical documentation is included with your purchase.

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original Harmensz van Rijn Rembrandt Jan Asselyn, Painter, 1647 for sale
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  Biography

This strikingly rich and bold Rembrandt Jan Asselyn, Painter, 1647 features a handsome Jan Asselyn, depicted here in a comfortable, seated position. This impression is incredibly detailed – a perfect example of Rembrandt’s creative vision and innovative techniques in manipulating light throughout his works. Jan Assleyn was a fellow artist in Rembrandt’s day; born in Holland, he was a landscape painter whose works served almost as a journal of his travels. According to Rembrandt scholars, Jan Assleyn was small in stature and also had a deformed hand – he was nicknamed ‘Crabbetje’ as a result (neither feature is distinguishable in this portrait).

Created in 1647, this piece is a Nowell-Usticke State IV (of VI); Biörklund State IV (of IV); White & Boon State III (of III); Hind State III (of III). According to Nowell-Usticke, there are approximately 225-500 known impressions extant (Usticke 12, B. 277).

Catalogue Raisonné & COA:
Rembrandt Jan Asselyn, Painter, 1647 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).
1) Bartsch. The Illustrated Bartsch Vol. 50. Edited by Stephanie S. Dickey. New York: Abaris Books, 1981. Illustrated as catalogue raisonné no. 277.

2) Biörklund, George. Rembrandt’s Etchings: True and False, 1968, listed as BB 47-1 on page 103.

3) Boon, K.G. Rembrandt The Complete Etchings, 1965. Illustrated and listed as plate 207.

4) Hind, Arthur. A Catalogue of Rembrandt’s Etchings, 1967. Listed as cat. no. 227 with details on page 99.

5) Munz, Ludwig. A Critical Catalogue of Rembrandt’s Etchings, 1952, Vol. 2, London, 1952. Listed as cat. no. 71 on pg. 67.

6) Munz, Ludwig. Rembrandt’s Etchings: Reproductions of the Whole Original Etched Work, Vol. I, London, 1952. Listed and illustrated as plate 78.

7) Nowell-Usticke, G.W. Rembrandt’s Etchings, 1988. Listed as B 277.

8) White, Christopher & Karel Boon. Rembrandt’s Etchings, Vol. 1 Text, 1969. Listed as B 277 on page 129-30.

9) White, Christopher & Karel Boon. Rembrandt’s Etchings, Vol. 2 Plates, 1969. Listed as B 277 on page 226.

10) A Certificate of Authenticity will accompany this work.

About the Framing:
Rembrandt Jan Asselyn, Painter, 1647 is framed to museum-grade, conservation standards, presented in a complimentary moulding and finished with silk-wrapped mats and optical grade Plexiglas.

Raisonne Title

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