Description:Created in c.1649, this work is a remarkably large and stunning Nowell-Usticke early/intermediate State II (of V) ; Hind State II (of III) ; Biörklund State II (of II) ; Boon & White State II (of II) lifetime impression. Printed on pale fibrous Japan paper, enhancing the rarity and the elegance of this work, Nowell-Usticke notes this to be a very uncommon large piece with approximately 125-225 known impressions (Usticke 12, B 164) , Nowell-Usticke further notes, that "fine impressions are much sought after." The plate was cut into four parts in 1776 by Capt. Baille, making complete impressions in excellent condition an extreme rarity. This work is documented as B. 74, H. 236, BB 49-I, B&W 74.
Described by noted Rembrandt scholar, Christopher White as "the apotheosis of Rembrandt's activity in etching in the 1640's, and according to popular opinion of his whole career, is the large etching known as 'The Hundred Guilder Print.'" (White, Rembrandt as an Etcher, 57) White traces the origin of the title to a print seller named Mariette, who sold an impression of this print to Rembrandt himself, for 100 guilders. The print has also been called Christ Healing the Sick, and Christ Healing the Sick with Small Children. The figures present in the composition reflect several characters from the New Testament, including Jesus, the Pharisees, and St. Peter. This scene, which is said to reflect elements from the Book of Matthew, is also said to reflect the essential Christian teaching: "Blessed are the poor in spirit; for theirs is the kingdom of heaven."
The ability to depict an abundance of Christian iconography, coupled with the beautiful prose associated with the work-combine to make this a landmark piece in the canon of Rembrandt's religious works. In fact, it seems a fair assertion that the Hundred Guilder Print remains Rembrandt's most famous and desirable etched work. This is a marvelous, large-scale impression with rich and velvety areas-it is in wonderful condition and an essential addition to any Rembrandt collection.
AUCTION COMPARABLE:
Sotheby's, NY Prints Sale N08358 (Nov. 1, 2007) , - Lot 10, $325,000
Catalogue Raisonné & COA:
It is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that I will enclose with the sale of the work) :
1) Nowell-Usticke, G.W., Rembrandt's Etchings, 1988. Listed as catalogue raisonné no. B 74.
2) Hind, Arthur, A Catalogue of Rembrandt's Etchings, 1967. Listed as catalogue raisonné no. 236.
3) Biörklund, George, Rembrandt's Etchings: True and False, 1968. Listed as catalogue raisonné no. BB 49-I.
4) Schwartz, Gary, Rembrandt: All the etchings reproduced in true size, 1977. Listed as catalogue raisonné no. B 74.
5) White, Christopher and Boon, Karel, Rembrandt's Etchings, Vol. 1, 1969. Listed as catalogue raisonné no. B 74.
6) White, Christopher and Boon, Karel, Rembrandt's Etchings, Vol. 2, 1969. Listed as catalogue raisonné no. B 74.
7) Boon, K.G., Rembrandt The Complete Etchings, 1965. Image listed as plate 216 with full size details.
8) White, Christopher, Rembrandt as an Etcher, 1969, Vol. 1. Discussed on pages 56-57.
9) White, Christopher, Rembrandt as an Etcher, 1969, Vol. 2. Listed as plate 62.
10) Ash, Nancy and Shelley Fletcher. Watermarks in Rembrandt's Prints. Documented as catalogue raisonné no. A.d on page 131 -133, 186, 208-209, 230, appendix.
About the Framing:
Brilliantly framed with museum quality archival materials, this work is float mounted in an ornate antique gold frame. The intricately sculpted moulding with vegetal and arching shapes compliments the linear quality of this work. Completed with white linen wrapped mattes and a matching gold inner fillet, this work is set behind archival Plexiglas. All materials are conservation minded.
