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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19. Rembrandt Van Rijn (1606-1669) Dr. Faust in His Studio, Watching a Magic Disk |
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(click on image to print)
Dr. Faust in His Studio, Watching a Magic Disk
Etching, drypoint and burin, ca. 1652, 209 x 160 mm., Bartsch 270, Hind 260 ii/iii, Boon/White 270 ii/iii, Nowell-Usticke 270 ii/vii, ex collection: Unknown L (not in Lugt). A very fine impression, with burr, on laid paper without apparent watermark, with narrow margins all around and in fine, fresh condition. The impression is almost identical in appearance to that of the second state in the British Museum (although that one is on a different paper), but also to a supposed intermediate state between the second and third in Chicago. The impression, however, is before the added shading on the book at the right that produced the odd shape of an hourglass or two triangles joined at their points (third state). The image is one of Rembrandt’s most mysterious, seemingly poised between being a genre picture of an alchemist in his studio and something more specific and perhaps more profound.
