Rembrandt van Rijn (1606-1669) Jan Asselyn Painter Etching, drypoint and engraving, circa 1647, a very fine impression on delicate thin laid paper without watermark, printing with rich burr and areas of plate tone, New Hollstein's fourth state (of seven) with the two dots in the upper right corner and before later re-work, platemark 217 x 168 mm (8 5/8 x 6 5/8 in), sheet 220 x 172 mm (8 5/8 x 6 3/4 in) (unframed) Provenance: Unknown collector's pen and brown ink numbering (initials?) verso, possibly late 18th century [Not in Lugt] Literature: Hind 227; New Hollstein 277 iv/vii ⁂ A particularly rich and detailed impression, which compares favourably with the Somary impression [see N.G. Stogdon, Etchings by Rembrandt from the collection of Felix Somary, Artemis, 1985], the British Museum copy (see acc. no. 1843, 0513.270), and the J. Barnard impression sold at Sotheby's in 2003 (see lot 92, 4th December 2003).
Rembrandt van Rijn (1606-1669) Jan Asselyn Painter Etching, drypoint and engraving, circa 1647, a very fine impression on delicate thin laid paper without watermark, printing with rich burr and areas of plate tone, New Hollstein's fourth state (of seven) with the two dots in the upper right corner and before later re-work, platemark 217 x 168 mm (8 5/8 x 6 5/8 in), sheet 220 x 172 mm (8 5/8 x 6 3/4 in) (unframed) Provenance: Unknown collector's pen and brown ink numbering (initials?) verso, possibly late 18th century [Not in Lugt] Literature: Hind 227; New Hollstein 277 iv/vii ⁂ A particularly rich and detailed impression, which compares favourably with the Somary impression [see N.G. Stogdon, Etchings by Rembrandt from the collection of Felix Somary, Artemis, 1985], the British Museum copy (see acc. no. 1843, 0513.270), and the J. Barnard impression sold at Sotheby's in 2003 (see lot 92, 4th December 2003).
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