Harmensz van Rijn Rembrandt, Jan Asselyn, Painter, c. 1646


Signed Harmensz van Rijn Rembrandt etching, Jan Asselyn, Painter, c. 1646

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Artist:Harmensz van Rijn Rembrandt ( - )

Title:Jan Asselyn, Painter, c. 1646

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

Medium:Original Etching

Image Size:7 3/8 in x 6 5/8 in (18.7 cm x 16.8 cm)

Sheet Size:7 5/8 in x 7 in (19.4 cm x 17.8 cm)

Framed Size:25 1/4 in x 24 7/8 in (64.1 cm x 63.2 cm)

Signature:Signed and dated in the plate

Condition:Large print with fine etching and crisp detail

Contact Us:1-800-805-7060

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Item # 2864
 
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Historical Description of this artwork


This strikingly rich and bold print features a handsome Jan Asselyn, depicted here in a comfortable, seated position. This 4th state 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 c.1646, this piece is a Nowell-Usticke State IV (of VI) impression; Biörklund State III (of IV); White & Boon State III (of III); Hind State III (of III); printed on a very fine laid paper. Signed and dated in the plate by Harmensz van Rijn Rembrandt (1606-1669).

Documented and Illustrated in:
1. Bartsch. The Illustrated Bartsch Vol. 50. Edited by Stephanie S. Dickey. New York: Abaris Books, 1981. Illustrated as catalogue raisonné no. 277 (another example illustrated) on page 230.

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. Charles, Victoria. Rembrandt: The Engraver, Bournemouth, 1997. Illustrated on pg. 61.
5. Dickey, Stephanie S. Rembrandt: Portraits in Print, Amsterdam, 2004. Listed and illustrated as plate no. 124 on pg. 290.
6. Hind, Arthur. A Catalogue of Rembrandt’s Etchings, 1967. Listed as cat. no. 227 with details on page 99.
7. Munz, Ludwig. A Critical Catalogue of Rembrandt’s Etchings, 1952, Vol. 2, London, 1952. Listed as cat. no. 71 on pg. 67.
8. Munz, Ludwig. Rembrandt’s Etchings: Reproductions of the Whole Original Etched Work, Vol. I, London, 1952. Listed and illustrated as plate 78, cat. no. 71/I.
9. Nowell-Usticke, G.W. Rembrandt’s Etchings, 1988. Listed as B 277.
10. Schwartz, Gary. Rembrandt: All the etchings reproduced in true size, 1977. Listed and illustrated as B 277.
11. White, Christopher & Karel Boon. Rembrandt’s Etchings, Vol. 1 Text, 1969. Listed as B 277 on page 129-30.
12. White, Christopher & Karel Boon. Rembrandt’s Etchings, Vol. 2 Plates, 1969. Listed as B 277 on page 226.
13. White, Christopher. Rembrandt as an Etcher, 1969 Vol. 1 Text. Discussed on pg. 134 as Fig. 186.
14. White, Christopher. Rembrandt as an Etcher, 1969 Vol. 2 Plates. Listed as plate no. 186.

About the Framing:
Museum grade conservation framed in a complementary moulding with silk mats and optical grade Plexiglas.

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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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  Biography

This strikingly rich and bold print features a handsome Jan Asselyn, depicted here in a comfortable, seated position. This 4th state 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 c.1646, this piece is a Nowell-Usticke State IV (of VI) impression; Biörklund State III (of IV); White & Boon State III (of III); Hind State III (of III); printed on a very fine laid paper. Signed and dated in the plate by Harmensz van Rijn Rembrandt (1606-1669).

Documented and Illustrated in:
1. Bartsch. The Illustrated Bartsch Vol. 50. Edited by Stephanie S. Dickey. New York: Abaris Books, 1981. Illustrated as catalogue raisonné no. 277 (another example illustrated) on page 230.

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. Charles, Victoria. Rembrandt: The Engraver, Bournemouth, 1997. Illustrated on pg. 61.
5. Dickey, Stephanie S. Rembrandt: Portraits in Print, Amsterdam, 2004. Listed and illustrated as plate no. 124 on pg. 290.
6. Hind, Arthur. A Catalogue of Rembrandt’s Etchings, 1967. Listed as cat. no. 227 with details on page 99.
7. Munz, Ludwig. A Critical Catalogue of Rembrandt’s Etchings, 1952, Vol. 2, London, 1952. Listed as cat. no. 71 on pg. 67.
8. Munz, Ludwig. Rembrandt’s Etchings: Reproductions of the Whole Original Etched Work, Vol. I, London, 1952. Listed and illustrated as plate 78, cat. no. 71/I.
9. Nowell-Usticke, G.W. Rembrandt’s Etchings, 1988. Listed as B 277.
10. Schwartz, Gary. Rembrandt: All the etchings reproduced in true size, 1977. Listed and illustrated as B 277.
11. White, Christopher & Karel Boon. Rembrandt’s Etchings, Vol. 1 Text, 1969. Listed as B 277 on page 129-30.
12. White, Christopher & Karel Boon. Rembrandt’s Etchings, Vol. 2 Plates, 1969. Listed as B 277 on page 226.
13. White, Christopher. Rembrandt as an Etcher, 1969 Vol. 1 Text. Discussed on pg. 134 as Fig. 186.
14. White, Christopher. Rembrandt as an Etcher, 1969 Vol. 2 Plates. Listed as plate no. 186.

About the Framing:
Museum grade conservation framed in a complementary moulding with silk mats and optical grade Plexiglas.

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