SOME HIGH POINTS OF THE LOW COUNTRIES
(Dutch and Flemish Prints and Drawings)
(Dutch and Flemish Prints and Drawings)
- Anonymous, Christ Crowned
- van Leyden, A Young Man
- Claesz, St. Peter Seated
- att. to Aertsen, St. John
- Cort, Maria Magdalena
- Wierix, Perseus and Andromeda
- Sadeler, Annunciation
- Collaert, Italian Landscape
- Sadeler, May and June
- Sadeler, July and August
- Muller, Albert, Archduke of Austria
- Casembrot, A Galley at Anchor
- van Uden, Landscape with a Man
- Uyttenbroeck, Mercury Accuses
- Akersloot, View of Haarlem
- Rembrandt, The Descent
- Rembrandt, Beggars Receiving
- Rembrandt, Jews in Synagogue
- Rembrandt, Faust
- Rembrandt, The Pancake Woman
- Pupil Of Rembrandt, Old Woman
- Lievens, Jacques Gaultier
- Post, Public Executions
- Waterloo, Farmhouse
- Waterloo, The Little Hunchback
- Both, Two Hinnies
- Van Ostade, The Fiddler
- Van Ostade, The Breakfast
- Fyt, Set of Animals
- Nolpe, Four Gentlemen
- Suyderhoef, Peasants in an Inn
- Berchem, Animalia
- Everdingen, The Mineral Springs
- Dujardin, Man and Two Donkeys
- Zeeman, Harbor Scene
- Visscher, Angel Appearing
- Bega, The Family
- van der Cabel, River Landscape
- Schoonebeck, Frontispiece
- Dusart, The Violinist
- Gole, Backgammon Players
- Pickaert, The Five Senses
- Tanjé, Pieter Tanjé
- Le Loup, View of the Town
- Soeterik, Boaters on a Lake
- Jongkind, Jetée en Bois
- Rops, La Messagère
- Toorop, Venise Sauvée
- Van Hoytema, Ducks in a Pond
- de Bruycker, Autour le Chateau
- Nieuwenkamp, Tooren van Amersfoort
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16. Rembrandt Van Rijn (1606-1669) The Descent From the Cross by Torchlight |
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(click on image to print)
The Descent From the Cross by Torchlight
Etching and drypoint, 1654, 210 x 163 mm., Bartsch 83 i/ii, Hind 280, Boon/White 83 only state, Nowell-Usticke 83 i/iii. Fine, atmospheric impression with all details printing clearly and cleanly, still with some light traces of burr and before the added diagonal shading in the upper right corner, on thin laid paper, trimmed on the platemark but complete. The paper bears a watermark with the date 1680 and the impression, therefore, must be posthumous. The location of Rembrandt's plate in the years immediately following his death remains unknown, but Nowell-Usticke theorizes that early posthumous impressions may have been printed by Pierre Mariette. The image is one of great dramatic intensity, the principal light source being the torch held by the man at the foot of the cross. The subject, then, emerges from darkness.
