Rembrandt Van Rijn, Etching & Drypoint: CORNELIS CLAESZ ANSLO, PREACHER

Rembrandt Van Rijn, Etching & Drypoint: CORNELIS CLAESZ ANSLO, PREACHER


Description: An original Rembrandt Van Rijn Etching & Drypoint print. 1641 Original etching and drypoint printed in black ink on chine applique (China paper mounted on wove paper). Signed and dated in the plate on the dark tablet at the right Rembrandt f. 1641 (indistinct). A fine, clear and clean 19th century impression of Bartsch’s second and final state, Usticke’s fourth state of six, New Hollstein’s fourth state of five. Showing no wear, printed after the blank strip at the lower edge of the plate which had been covered over with shading was burnished clean again by Captain William Baillie to remove this shading. Catalog: Bartsch 271 ii/ii; Hind 187; Biorklund-Barnard 41-I; Usticke 271 iv/vi; New Hollstein 197 iv/v. 7 5/16 x 6 1/4 inches Sheet Size: 7 15/16 x 6 13/16 inches Cornelis Claesz Anslo (1592-1646) was the preacher of the Mennonite community of the Waterlanders of Amsterdam. He wrote various theological works in which he defended Mennonite orthodoxy against the attacks of the Socinians. The same year as the completion of this plate, Rembrandt painted a portrait of Anslo with a woman who is probably his wife. Rembrandt makes reference to the sitter’s occupation in the manner of his representation. Anslo hold an upturned book in his right hand, with a pen hel between the fingers, and, with his other hand outstretched in an oratorical gesture, explains a passage from the Bible. The addition to the etching of the framed picture which has been taken down from its nail and turned to face the wall had a symbolic purpose, alluding to the Protestant belief that salvation can only be communicated through the word, thus denying the role accorded the image by Catholics. A similar theme in a different context is echoed in the poem probably composed for this print by Vondel, which although never inscribed on the plate, was written in manuscript on several impressions: “On Cornelis Anslo / O Rembrandt, paint Cornelis voice! / His outward appearance is the least of him. / What is invisible, one can only learn by ear; / He who wants to see Anslo must hear him”.
Dimensions: Image Size: 7 5/16 x 6 1/4 inches
Sheet Size: 7 15/16 x 6 13/16 inches
Artist or Maker: Rembrandt Van Rijn
Medium: Etching & Drypoint
Date: 1641
Condition Report: In excellent condition, printed on a sheet with c. 1/4 inch margins all around.
Exhibited: Collections in which impressions of this state of this etching can be found; Rijksmuseum, Amsterdam; Kupferstichkabinett der Staatlische Museen, Berlin; Museum of Fine Arts, Boston; Szépmüvészéti Museum, Budapest; Gabinetto disegni e stampe degli Uffizi, Florence; Hamburger Kunsthalle, Hamburg; The British Museum, London; State Pushkin Museum of Fine Arts, Moscow; Bibliothèque Nationale, Paris; Philadelphia Museum of Art; The State Hermitage Museum, St. Petersburg; Graphische Sammlung Albertina, Vienna; The National Gallery of Art, Washington D.C.
Literature: Holm Bevers/Peter Schatborn/Barbara Welzel, Rembrandt: the Master & his Workshop, Yale University Press, New Haven & London, 1991, no. 16, p. 211 (ill.); Christopher White, Rembrandt as an Etcher: A Study of the Artist at Work, Yale University Press, New Haven & London, 1999, no. 176, p. 137 (ill.); Erik Hinterding/Ger Luijten/Martin Royalton-Kisch, Rembrandt the Printmaker, Fitzroy Dearborn Publishers, Chicago & London, 2000, no. 45, p. 197 (ill.); Stephanie S. Dickey, Rembrandt Portraits in Print, John Benjamins Publishing Co., Amsterdam, 2004, no. 60, p. 248 (ill.); Gary Schwartz, The Rembrandt Book, Harry N. Abrams, New York, 2006, no. 325, p. 190 (ill.); Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Thoth Publishers, Bussum, 2008, no. 199, vol. II p. 222 (ill.); Seymour Slive, Rembrandt Drawings, J. Paul Getty Museum, Los Angeles, 2009, fig. 3.12, p. 32 (ill.).
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