Description:Created in c.1630, this print is considered to be a Nowell-Usticke State I (of III) , Biörklund State I (of III) , Münz State II (of II) , and Boon & White State I (of III) . Printed on a beautiful fine laid paper with a strong plate mark, this work is signed, ‘RHL’ (in monogram, in reverse) . It also features the partial watermark of the Arms of Amsterdam as detailed in Ash & Fletcher 235.
Having been part of a number of figural studies Rembrandt has created on his aging subjects, Man in Cloak & Fur Cap, Leaning Against a Bank is no different. Here we see rich, textural detail as highlighted by distinct etched lines both in a diagonal and also in softer, delicate strokes. His weight of his heavy coat and the many years weigh down upon our subject and he leans against his walking stick both for support and guidance. The bank itself is elaborately shaded and highlighted, serving to be a complimentary background and environment for the piece. It serves to be classically Rembrandt, the seemingly lack of effort taken into the facial expression turn out to be the most powerful; both his character and sentiment are conveyed through the furrow of his brow, the slight part in his lips, and even the direction in which he faces. His unkempt beard adds a delicate touch, evening out his chin and echoing the square shape of the fur cap atop his head. It is a fantastic addition to any Rembrandt collection.
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 will accompany the final sale of the work) :
1. Ash, Nancy & Shelley Fletcher. Watermarks in Rembrandt’s Prints, Washington, D.C., 1998. Watermark listed and illustrated as cat. no. B. 151 (i/ii) Arms of Amsterdam nc: PML on pg. 235.
2. Biörklund, George. Rembrandt’s Etchings: True and False, 1968. Listed and illustrated as cat. no. BB 30-6 on pg. 33.
3. Hind, Arthur. A Catalogue of Rembrandt’s Etchings, 1967. Listed and illustrated as cat. no. 14 with details on page 46.
4. Munz, Ludwig. A Critical Catalogue of Rembrandt’s Etchings, 1952, Vol. 1. Listed as cat. no. 124 and detailed on pg. 334.
5. Munz, Ludwig. A Critical Catalogue of Rembrandt’s Etchings, 1952, Vol. 2. Listed as cat. no. 109 on pg. 76.
6. Nowell-Usticke, G.W. Rembrandt’s Etchings, 1988. Listed and illustrated as cat. no. B151.
7. Schwartz, Gary. Rembrandt: All the etchings reproduced in true size, 1977. Listed and illustrated as B151.
8. White, Christopher and Boon, Karel. Rembrandt’s Etchings, Vol. 1 - Text, 1969. Listed as B 151 on page 75-6.
9. White, Christopher and Boon, Karel. Rembrandt’s Etchings, Vol. 2 - Plates, 1969. Listed as B151 on pg. 127.
About the Framing:
Conservation framed with archival materials and museum quality, this work is float mounted in a bright and stately gold frame. The organic sculptural quality of the moulding is the perfect compliment to this intimate and celebratory etching. Further, the details in the moulding accentuate the fine detailing within the work as curvilinear moulding forms compliment linear aspects of the piece. Completed with white linen wrapped mattes and a matching gold inner fillet, this work is set behind archival Plexiglas.
