Drypoint only. 1652.
Size: 156, later 124 x 211 mm. Surface: 331, later 262 cm2.
Signed and dated, from the 2nd state, in the lower right corner: Rembrandt. f. 1652
Copper Plate
The copperplate was not in any of the major collections and is probably not in existence.
Rarity of impressions
In auctions (2000-2025): very rare Early: 7 ⦿⦿⦿⦿⦿⊙
In collections (New Hollstein – 2013): rare Early: 47 ⦿⦿⦿⦿⊙⊙
Catalogue Nowell-Usticke (1967): RRRR-, of the greatest rarity ⦿⦿⦿⦿⦿⦿
Description
This is one of the few plates fully executed in drypoint.
Subject/Sitter
Many suggestions have been made for the exact location of this etching. It is probably somewhere near the river Amstel or around Diemen, east of Amsterdam. It must have been one of Rembrandt’s favourite spots since there are at least four drawings of the same setting by him or his pupils.
Title
Bartsch (1797) called this print Le bouquet de bois, but Daulby (1796) had already introduced the term vista, referring to the vista to the right of the farmhouse.
Related
There is a drawing in reverse in the Fitzwilliam Museum (Cambridge UK, Benesch 1274) and one in the Boymans van Beuningen (Benesch 1272). A drawing in the Lugt Collection is attributed to Jacob Koninck and another in the Kupferstichkabinett in Berlin (Benesch 1273) to Pieter de With.
A painting of the same subject was in the Horne Collection in Montreal (Bredius 453) but it was stolen in 1972 and has not been retrieved since. Cynthia Schneider doubts its attribution.
Copies
NH lists one copy in the same direction (A) by Richard Byron. It shows two accidental scratches from the lower margin bending to the right (his nr. 6, 126 x 189 mm, WB 1).
There is one copy in reverse (B) by Louis Gervais Marvy, inscribed Louis Marvy d’apres Rembrandt (163 x 255 mm, WB 2).
Attributions and reviews
The etching is considered as special by Middleton, De Claussin and Rovinsky.
States
All authors list two states, both contemporary.
In the 1st state (R599) the plate is unfinished. It only shows the shed in the centre of the plate.
In the 2nd state (R600-601) the plate is finished, signed and reduced in height.
Prints and collections
Of the 1st state only seven impressions are known of which one in the Rijksmuseum is a counterproof.
The 2nd state was printed in at least four editions. Hinterding has identified forty impressions in public collections. There are no impressions on Oriental paper, in contrast with Rembrandts working methods at that time.
Watermarks
In the 1st state: Foolscap with five-pointed collar (c. 1651-52).
In the 2nd state: Arms of Amsterdam, Countermark PBD, Pascal lamb, also with cm HW (1652), Strasbourg lily (c. 1652).
Literature
H 263, BB 52-D, G 214, M 328, Mz 169, RA 599-601, Cl 219, W 219, Bl 323, Du 219, CD 221, S 99. E.Haverkamp Begemann in Kunstchronik 1961 xiv p. 85ff; Hinterding 2006, p. 53-54; Hinterding 2008, p. 410-414;
