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拍品专文
This etching is the only double-portrait Rembrandt created of his wife Saskia van Uylenburgh and himself, as a testimony to their happy marriage, which ended tragically with her premature death at the age of 29 in 1642. Made two years after their wedding in 1634, the print depicts the young pair sitting around a small table, dressed in 16th-century clothing. The artist wears a broad-collared, wide-sleeved shirt, with fur-trimmed jerkin and plumed beret, and Saskia a high-waisted, collared dress and a bonnet with a veil - garments which would have been considered decidedly old-fashioned in their day. Rembrandt holds a porte-crayon, a two-ended chalk holder, which he rests on a sheet of paper on which a few lines have been drawn, presumably the beginnings of a portrait of his beloved. Their gazes are directed towards the viewer, perhaps admonishing us for intruding into their quiet, domestic happiness. This delightful marriage portrait encapsulates the Dutch motto `Liefde baart kunst' - Love brings forth art; a common theme in the literature of the 16th and 17th centuries, and to which the artist alludes by including the symbol of his profession, and their theatrical attire.
The present impression belonged to Richard Fitzwilliam, 7th Viscount Fitzwilliam (1745-1816), whose magnificent collection of paintings, drawings, prints and sculptures was bequeathed to the University of Cambridge and formed the core of what would become the Fitzwilliam Museum. His collection of Rembrandt prints was regarded as one of finest and most comprehesive in England. In 1878 the University of Cambridge Library de-accessioned duplicate impressions from their collection. The stamp which appears on the reverse of this print (see Lugt 2475) was applied only to impressions which had once been part of Lord Fitzwilliam's collection. It was acquired by the engraver and publisher Eugène Loizelet (1842-1882). Loizelet is best known for publishing the third edition of Goya's Tauromaquia in 1876, for which he made an etched portrait of the artist for the title-page (see lot 151).
The present impression belonged to Richard Fitzwilliam, 7th Viscount Fitzwilliam (1745-1816), whose magnificent collection of paintings, drawings, prints and sculptures was bequeathed to the University of Cambridge and formed the core of what would become the Fitzwilliam Museum. His collection of Rembrandt prints was regarded as one of finest and most comprehesive in England. In 1878 the University of Cambridge Library de-accessioned duplicate impressions from their collection. The stamp which appears on the reverse of this print (see Lugt 2475) was applied only to impressions which had once been part of Lord Fitzwilliam's collection. It was acquired by the engraver and publisher Eugène Loizelet (1842-1882). Loizelet is best known for publishing the third edition of Goya's Tauromaquia in 1876, for which he made an etched portrait of the artist for the title-page (see lot 151).