.jpg?w=1)
Lot Essay
The circumstances in which Rembrandt found himself at the time he created the portrait of Thomas Jacobsz. Haaringh (1586/7-1660) were far from ideal. Although the portrait is not dated, it is generally accepted that it was created in 1655, around the same time as the similar, dated portrait of the sitter's great-nephew Pieter Haaringh (B. 275), who had been the auctioneer of a part of Rembrandt's large personal collection the previous year. Soon after this voluntary sale, Rembrandt was again in financial turmoil and it was now Thomas Haaringh, Concierge of the Amsterdam Town Hall, who was in charge of the forced sale of Rembrandt's possessions between 1656 and 1658.
Despite this rather discouraging state of affairs The Old Haaringh can be considered as one of Rembrandts' greatest portraits. Although the image is similar in style to other portraits by the artist, it was a daring technical experiment. For the first and only time in a portrait Rembrandt dispensed with etching altogether, instead choosing to work directly into the plate with a drypoint needle and a burin. To rely entirely on drypoint and a little engraving meant that only a few good impressions could be taken, as the rich burr which so dominates the image and the fine lines in the face, hair and hands wore very quickly. The result however is one of the most painterly of all of Rembrandt's prints, with almost sfumato effects which describe the velvety texture of the curtain and the clothes and the sitter's wispy white hair beautifully.
Rarity and technical mastery make 'Old Haaringh' one of the most desirable of Rembrandt's portraits which the nineteenth-century Dutch author Carel Vosmaer considered it 'le nec plus ultra de la gravure'.
Despite this rather discouraging state of affairs The Old Haaringh can be considered as one of Rembrandts' greatest portraits. Although the image is similar in style to other portraits by the artist, it was a daring technical experiment. For the first and only time in a portrait Rembrandt dispensed with etching altogether, instead choosing to work directly into the plate with a drypoint needle and a burin. To rely entirely on drypoint and a little engraving meant that only a few good impressions could be taken, as the rich burr which so dominates the image and the fine lines in the face, hair and hands wore very quickly. The result however is one of the most painterly of all of Rembrandt's prints, with almost sfumato effects which describe the velvety texture of the curtain and the clothes and the sitter's wispy white hair beautifully.
Rarity and technical mastery make 'Old Haaringh' one of the most desirable of Rembrandt's portraits which the nineteenth-century Dutch author Carel Vosmaer considered it 'le nec plus ultra de la gravure'.