.jpg?w=1)
拍品专文
This intriguing genre scene is one of the greatest rarities in the collection: of the present first state, only one other impression is known (Rijksmuseum, Amsterdam; inv. no. RP-P-OB-223). The present one is strong and black, with a pronounced plate tone. The sheet is slightly cut within the platemark, but was undoubtedly printed before the signature, date and borderline were added in the second state, presumably by Rembrandt’s workshop. It is hence the only obtainable example of the print which is strictly contemporary and by Rembrandt’s hand.
The plate is one of the artist's first attempts to create a heavily shaded scene in etching, and although it is very atmospheric and moving, he seems to have struggled to calibrate the depth and strength of lines. Presumably bitten only once - and for too long – in the acid bath, certain elements such as the shadow of the string of onions or the shading over the woman’s face, appear too heavy. This may be the reason why Rembrandt made only a handful of impressions. Despite, or perhaps because of, these technical imperfections, this is graphically a very interesting print and a fascinating relic of Rembrandt’s early printmaking practice. The long line of previous owners – Pond, Astley, Daulby, Rudge… - is testimony to the interest this sheet has had for these very discerning collectors of the 18th and 19th centuries.
The plate is one of the artist's first attempts to create a heavily shaded scene in etching, and although it is very atmospheric and moving, he seems to have struggled to calibrate the depth and strength of lines. Presumably bitten only once - and for too long – in the acid bath, certain elements such as the shadow of the string of onions or the shading over the woman’s face, appear too heavy. This may be the reason why Rembrandt made only a handful of impressions. Despite, or perhaps because of, these technical imperfections, this is graphically a very interesting print and a fascinating relic of Rembrandt’s early printmaking practice. The long line of previous owners – Pond, Astley, Daulby, Rudge… - is testimony to the interest this sheet has had for these very discerning collectors of the 18th and 19th centuries.