The School of Rembrandt, Young Man in a Velvet Cap, with Books Beside Him
Signed The School of Rembrandt etching, Young Man in a Velvet Cap, with Books Beside Him
|Artist:||The School of Rembrandt (1600 - 1700)|
|Title:||Young Man in a Velvet Cap, with Books Beside Him|
|Image Size:||3 11/16 in x 3 3/16 in (9.4 cm x 8.1 cm)|
|Sheet Size:||3 13/16 in x 3 1/4 in (9.7 cm x 8.3 cm)|
|Framed Size:||approx. 16 in x 14 in (40.6 cm x 35.6 cm)|
|Edition:||This work is a copy after the original etching by Harmensz van Rijn Rembrandt (Leiden, 1606 - Amsterdam, 1669).|
|Signature:||Signed and dated in the plate in the upper left, 'Rembrandt f.1637.|
|Condition:||This work is in very good condition; hinged to backing board with minute tear along left border, not affecting the image; slight horizontal crease across center.|
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Item # 3881
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Historical Description of this artwork
Gazing out at the viewer in a rich, velvet cap, this young man appears both wealthy and educated. Sitting casually, he is a self-aware and confident individual. The open books that rest beside him imply that he is a scholar of sorts. Although this work is a copy after the original etching by Rembrandt, the artist manages to capture the essence of Rembrandt's portraiture style. The subject is conveyed with incredible detail, to the point where the viewer feels as though he or she knows this young man with the velvet cap, steadfast gaze, and air of self-assurance.
This work is a copy by a student or follower of Rembrandt created after the original etching by Harmensz van Rijn Rembrandt (Leiden, 1606 – Amsterdam, 1669).
Catalogue Raisonné & COA:
The original etching by Rembrandt from which this work is based on 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 final 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. 268.
2. Hind, Arthur. A Catalogue of Rembrandt's Etchings, New York, 1967. Listed and illustrated as catalogue raisonné no. 151.
3. Nowell-Usticke, G.W. Rembrandt's Etchings, Narberth, 1988. Listed and illustrated as catalogue raisonné no. B. 268.
4. White, Christopher & Karel Boon. Rembrandt's Etchings, Vol. I: Text, 1969. Listed as catalogue raisonné no. B.268.
5. White, Christopher & Karel Boon. Rembrandt's Etchings, Vol. II: Plates, Amsterdam, 1969. Illustrated as catalogue raisonné no. B.268.
6. A Certificate of Authenticity will accompany this work.
About the Framing:
Framed to museum grade conservation standards, this piece is framed in a complementary moulding with silk 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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The School of Rembrandt Complete Biography
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The School of Rembrandt Biography
Harmensz van Rijn Rembrandt’s (Leiden, 1606 – Amsterdam, 1669) school in Amsterdam was one of the busiest art enterprises of the 17th century. As a talented and popular teacher with more than 50 documented students, Rembrandt created not only a name for himself but for his school as well. His name lives on through his own vast artistic oeuvre and through the works that his students created that greatly resemble his artistic style. From paintings to drawings to etchings, his students explored a variety of artistic mediums, creating works of great artistic merit.
Drawing, in particular, played a crucial role in Rembrandt’s teaching methods. Rembrandt would create drawings for his students to imitate, and he and his pupils would sketch the same models and landscapes side by the side. As a result of these immersive training methods, Rembrandt’s drawings and those of his students retain many stylistic similarities.
Works by the School of Rembrandt display traits that define Rembrandt’s artistic style: the delicate handling of line, rendering of expressions and gestures, and description of light. Rembrandt’s works display an active use of light and shadow on his figures creating a dramatic chiaroscuro effect while his subjects appear to come to life with their remarkably detailed and human expressions. His students learned such methods from him and expertly applied them to their own works.
Amongst some of Rembrandt’s more notable students are Ferdinand Bol (1616 -1680), Gerrit Dou (1613-1675), Carel Fabritius (1622 – 1654), Govert Flinck (1615 – 1660), and Samuel van Hoogstraten (1627 – 1678).
~Derived from http://www.getty.edu/art/exhibitions/rembrandt_drawings/