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Original etching printed in black ink on laid paper
Signed and dated in the plate lower left Rembrandt f. 1642.
A fine late 18th century impression (possibly by Claude Henry Watelet) of Bartsch and New Hollstein’s second and final state, Usticke’s, second state of three, printed after the addition of the diagonal shading to the forehead of Lazarus, but well before the very late rebiting of the plate.
Catalog: Bartsch 72 ii/ii; Hind 198; Biorklund-Barnard 42-B; Usticke 72 ii/iii; New Hollstein 206 ii/ii.
5 7/8 x 4 3/8 inches
Sheet Size: 6 x 4 ½ inches
In excellent condition, with small margins all around.
Literature regarding this artwork: Christopher White, Rembrandt as an Etcher, Yale University Press, New Haven & London, 1999, pp. 48-49 (ill.); Clifford S. Ackley, Rembrandt’s Journey: Painter-Draftsman-Etcher, Museum of Fine Arts, Boston, 2003, no. 129, p. 198 (ill.); Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Thoth Publishers, Bussum, 2008, no. 58, vol. II p. 65 (ill.); Shelly Perlove & Larry Silver, Rembrandt’s Faith: Church and Temple in the Dutch Golden Age, The Pennsylvania State University Press, 2009, fig. 169, p. 275 (ill.).
Collections in which impressions of this state of this etching can be found: Rijksmuseum, Amsterdam; Mudseum het Rembrandthuis, Amsterdam; Kupferstichkabinett der Staatliche Museen, Berlin; Museum of fine Arts, Boston; Szépmüvészéti Museum, Budapest; Fogg Art Museum, Harvard University, Cambridge; Graphischen Sammlung des Hessischen Landesmuseums, Darmstadt; Kupferstich-Kabinett der Staatliche Kunstsammlungen, Dresden; Hamburger Kunsthalle, Hamburg; The British Museum, London; State Pushkin Museum of Fine Arts, Moscow; The Metropolitan Museum of Art, New York; The New York Public Library; The Morgan Museum and Library, New York; Bibliothéque Nationale, Paris; The State Hermitage Museum, St. Petersburg.
