Description:Created in 1655, this work is an exquisite portrait of the young Jakob Thomasz Haringh (also known as Pieter Haringh) signed and dated in the plate at the right by Harmensz van Rijn Rembrandt (1606 – 1669): ‘Rembran f. 1655’ . Printed on a fine, laid paper, this work is a Nowell-Usticke final State V (of V) and considered either a Jean or Bernard impression with the plate cut down to a smaller rectangle featuring the head and bust only; Hind State V (of V); Biörklund State V (of V); Boon & White State V (of V).
Jakob Thomasz Haringh was the son of the elder Jacobsz Haringh (a prominent art auctioneer during the mid-17th century, see B.274). The younger Jakob Haringh, featured here, is elegantly portrayed in an austere seated position by a multi-paned window. The light which streams through illuminates the majority of the work, mainly along the left side of his face and some of the background, allowing for a greater depth of field and sense of space within the portrait. Haring was a prominent lawyer for the Court of Insolvents. In 1657-1658, he was to direct the dissolution of Rembrandt’s assets upon his bankruptcy.
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) Biörklund, G. (1968). Rembrandt’s Etchings: True and False. Esselte Aktiebolag: Stockholm. Listed and illustrated as BB 55-E.
2) Boon, K.G., Rembrandt The Complete Etchings, 1965, image listed as plate 227.
3) Charles, V. (1997). Rembrandt the Engraver. Parkstone Press: Bournemouth. Illustrated and catalogued on pg. 181.
4) Dickey, S. (2004). Rembrandt: Portraits in Print. John Benjamins Publishing Company: Philadelphia. Listed and illustrated as plate 161 on pg. 314.
5) Hind, A. (1967). A Catalogue of Rembrandt’s Etchings. Da Capo Press: NY. Listed and illustrated as catalogue raisonné no. 288 on pg. 115.
6) Münz, L. (1952). A Critical Catalogue of Rembrandt’s Etchings, Vol. II - Text. Phaidon Press: London. Listed as catalogue raisonné no. 75 on pg. 68.
7) Münz, L. (1952). Rembrandt’s Etchings, Reproductions of the Whole Original Etched Work, Vol. I - Plates. Phaidon Press: London. Listed and illustrated as plate 84 (catalogue raisonné no. 75).
8) Nowell-Usticke, G.W. (1988). Rembrandt’s Etchings, States & Values. Hacker Art Books: NY. Listed and illustrated as catalogue raisonné no. B 275.
9) Schwartz, Gary, Rembrandt: All the etchings reproduced in true size, 1977, listed and illustrated as B 272.
10) White, C. & Boon, K. (1969). Rembrandt’s Etchings, An Illustrated Critical Catalogue, Vol. 1 – Text. Van Gendt & Co.: Amsterdam. Listed as B 275.
11) White, C. & Boon, K. (1969). Rembrandt’s Etchings, An Illustrated Critical Catalogue, Vol. 2 – Plates. Van Gendt & Co.: Amsterdam. Illustrated as plate B 275 on pg. 222-3 (States I & II shown only).
12) White, C. (1969). Rembrandt as an Etcher: A Study of the Artist at Work, Vol. I - Text. Pennsylvania State University Press: University Park. Detailed on pg. 139.
About the Framing:
Conservation framed with museum quality archival materials, this work is float-mounted in a Spanish-style gold and black frame with rich bronze accents. An exterior undulating sculptural pattern is the perfect complement to this softly etched work. Completed with white, linen-wrapped mats and a matching gold inner fillet, this work is set behind archival Plexiglas cover. A brass artist’s name plate has been mounted to the mat just below the image also detailing the birth/death dates of the artist.
