REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
PROPERTY FROM A PRIVATE WEST COAST COLLECTION
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)

The Three Trees

细节
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
The Three Trees
etching with engraving and drypoint, 1643, on laid paper, with an indistinct countermark, a very good impression of this important print, with good contrasts and remarkable clarity in the foreground, the sulphur tinting printing clearly in the sky, with a subtle plate tone, small margins on all sides, an unobtrusive flattened vertical crease, a short tear at upper left, otherwise in very good condition, framed
Plate 211 x 280 mm., Sheet 216 x 284 mm.
来源
Sir Hans Sloane (1660-1753), London (Lugt 1364).
With Knoedler & Co., New York, with their stock number K.9086 in pencil verso.
出版
Bartsch, Hollstein 212; Hind 205; New Hollstein 214

荣誉呈献

Tim Schmelcher
Tim Schmelcher International Specialist

拍品专文

Few landscape prints in the history of art rival the evocative power of Rembrandt’s The Three Trees. The chiaroscuro he had first perfected in his historical paintings is used here in the largest and most ambitious of his etched landscapes, and the strong overplay of shadow demanded all of Rembrandt’s technical mastery.

Based on the countryside around Amsterdam, Rembrandt graduated distance and atmosphere with breathtaking subtlety, using etched lines of varying density. The three sturdy trees, of uncertain species, are starkly silhouetted against a clear patch of sky, and seem to echo the three crosses in Rembrandt’s other great masterpiece.

Where it differs from other landscape etchings is the vivid depiction of the elements at work. Yet the human life depicted in the print - the angler and his wife in the foreground at lower left, the workers in the fields beyond, the cartload of peasants on the dyke behind the trees, the artist resolutely ignoring the approaching storm, and most intriguingly the lovers secreted in the bushes lower right - none of them respond to the climatic drama unfolding around them.

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