Rembrandt Harmensz. van Rijn
Property from the Estate of the Late Lilian Honor Lewis
Rembrandt Harmensz. van Rijn

Christ at Emmaus: The larger Plate (B., Holl. 87; H. 282; New Holl. 283)

Details
Rembrandt Harmensz. van Rijn
Christ at Emmaus: The larger Plate (B., Holl. 87; H. 282; New Holl. 283)
etching with drypoint, 1654, without watermark, a very fine, early impression of the second state (of three; of five according to New Hollstein), very luminous, printing with much burr on the hat, in the drapery and elsewhere, and without any wear in the densely-worked areas, with thread margins, trimmed on the platemark in places, tiny repairs at the sheet corners, otherwise in very good condition, framed
P. 211 x 160 mm., S. 213 x 161 mm.
Provenance
August Artaria (1807-1893), Vienna (Lugt 33); his posthumous sale, Artaria & Co., Vienna, 6-13 May 1896, lot 534: 'Superbe épreuve avec beaucoup de barbes. Rare.' (40 fl.; to Rosenberg).
Julius Rosenberg (1845-1900), Copenhagen (L. 1519 and 1520); acquired at the above sale; presumably his posthumous sale, C.G. Boerner, Leipzig, 1-2 May 1901.
Dr. Julius Elischer von Thurzobanya (1846-1909), Budapest (L. 824); presumably acquired at the above sale; possibly his posthumous sale, C. G. Boerner, Leipzig, 9-11 March 1911.
With Colnaghi’s, London (with their label on the frame and presumably their stocknumber C. 12793 in pencil verso); possibly acquired at the above sale.
Percival Duxbury (1872-1945), Bredbury, Cheshire; acquired from the above; then by descent to the present owners.

Brought to you by

Charlie Scott
Charlie Scott

Check the condition report or get in touch for additional information about this

If you wish to view the condition report of this lot, please sign in to your account.

Sign in
View condition report

Lot Essay

'... as he sat at meat with them, he took bread, and blessed [it], and break, and gave to them. And their eyes were opened, and they knew him; and he vanished out of their sight.' (Luke 24.30-31).
Having risen from the grave on the third day after his death, Christ appears to two of his disciples on the road to Emmaus. Yet they do not recognise him until they share their meal with him. It is this moment of recognition that Rembrandt depicts and he does so in an unusually loose and sketch-like style. It is this swiftness of line and the seemingly unfinished character of the etching which so dramatically conveys the ephemeral nature of scene, as Christ is about to disappear.

Although Rembrandt printed several impressions of the first state, he did not consider the plate finished, as parts of the composition had failed to bite properly. He remedied these flaws in the present second state with extensive drypoint work. The third, final state is posthumous. The fine, early impression offered here compares favourably with the Salting impression in the British Museum, printing slightly more richly and with more burr.

More from Old Master, Modern & Contemporary Prints

View All
View All