Details
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
The Goldsmith
etching and drypoint
1655
on stiff, warm-toned Japan paper
a superb impression of the first state (of three)
printing very darkly and richly yet clearly, with intense contrasts and great depth
with touches of burr throughout, much inky relief and a subtle plate tone
with margins and a sharp platemark
generally in very good condition
Plate 77 x 56 mm.
Sheet 98 x 72 mm.
Provenance
Sotheby's, London, 9 December 1982, lot 679 (£ 4,400).
Sam Josefowitz (Lugt 6094); acquired at the above sale (through Laube); then by descent to the present owners.
Literature
Bartsch, Hollstein 123; Hind 285; New Hollstein 289 (this impression cited)
Stogdon 61

Brought to you by

Tim Schmelcher
Tim Schmelcher International Specialist

Lot Essay

The present impression is an outstanding example of this gentle interior scene, printed here on a thick sheet of yellowish Japan paper, which seems perfectly matched to the subject and mood. This small, cameo-like work displays a delicate interplay of light in a dark room, lit on the left by the fire and by a window on the right. It shows an elderly metalworker secluded in his foundry, surrounded by the tools of his trade, with the hooded forge glowing in the background. He is standing at his bench, working on a substantial Caritas group, presumably made of gilt bronze. The tenderness with which the goldsmith holds the sculpture is almost an allegory for an artist's deep attachment to his craft, and one can easily imagine Rembrandt handling the plate on which this was etched with the same affection. Some commentators have seen his expression as distracted, perhaps aware that he is soon to part with his creation.

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