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拍品专文
Starkly beautiful and captivating rather than charming, this small portrait of an unidentified elderly woman is, graphically and technically, an interesting anomaly, as Erik Hinterding explains:
‘This old woman's features are not those of the model who is usually identified as Rembrandt's mother… She wears a fur-trimmed coat and her head is wound around with a cloth that also falls loosely around her neck. The light comes from the left which is rather unusual in Rembrandt's etchings, but what is most remarkable is the way the image is cut off irregularly along the bottom, below which large parts of the plate have been left blank. This was done by coating these areas of the plate with stopping-out varnish after the drawing in the wax ground was completed, but before biting, so that the etching acid can no longer get to the copper in these places. There are no other examples in Rembrandt's graphic oeuvre where this was done so rigorously.'
(Hinterding, 2008, p. 600)
‘This old woman's features are not those of the model who is usually identified as Rembrandt's mother… She wears a fur-trimmed coat and her head is wound around with a cloth that also falls loosely around her neck. The light comes from the left which is rather unusual in Rembrandt's etchings, but what is most remarkable is the way the image is cut off irregularly along the bottom, below which large parts of the plate have been left blank. This was done by coating these areas of the plate with stopping-out varnish after the drawing in the wax ground was completed, but before biting, so that the etching acid can no longer get to the copper in these places. There are no other examples in Rembrandt's graphic oeuvre where this was done so rigorously.'
(Hinterding, 2008, p. 600)