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B 257

Man in an arbour

  • French title:
    Homme sur une treille
  • German title:
    Der Mann in der Laube
  • Dutch title:
    Man in een prieel
  • New Hollstein:
    208
  • Rembrandt in Black & White:
    143

Etching. 1642.
Size: 72 x 56 mm. Surface: 40 cm2.
Signed and dated, in the upper left corner: Rembrandt. f. 1642

NH 208 – Only state

Copper Plate

The copperplate was not part of any of the major collections and is almost certainly not in existence.


Rarity of impressions

  • In auctions (2000-2025): rare                                                  Early: 12                                       ⦿⦿⦿⦿⊙⊙

  • In collections (New Hollstein – 2013): very rare                   Early: 41                                       ⦿⦿⦿⦿⦿⊙

  • Catalogue Nowell-Usticke (1967): RRR-, a very rare plate, possibly a self-portrait           ⦿⦿⦿⦿⦿⊙


Description

The picture shows a, so far unidentified, man leaning on a balustrade, pointing his right arm to what seems to be a row of books in the background. According to Fritz Saxl (1910) the pose of the sitter resembles the pose in Rembrandt leaning on a stone sill (B 21), which is clearly influenced by Castiglione. This supports the idea that it could be a self-portrait, as suggested by Nowell-Usticke. But his suggestion is not followed by other authors.


Related

Hinterding points at similarities in style with the work of Ferdinand Bol, specifically the etchings Hollstein 5 to 14. Bol started to work in 1642 and made several pictures of bearded men and books in the background.


Copies

NH lists four copies of which one in the same direction. Copy C is by David Deuchar, published in his album (c. 1861, 77 x 69 mm, WB).
There are three copies in reverse. Copy A is by Honoré Coussin, inscribed Rembran | h.c.f. (two states, 107 x 87 mm). Copy B is anonymous (73 x 61 mm). Copy D is by an anonymous English artist in the 18th century, inscribed Rembrandt f 1643 (135 x 161 mm).


Attributions and reviews

The etching is considered as special by Coppier.


States

All authors list one state only. Early impressions are sharp and clear, later ones are still quite good.


Literature

H 194, BB 42-A, G 237, M 152, Mz 65, RA 660, Cl 254, W 258, Bl 262, Du 273, CD 159
Saxl 1910, p. 42; Hinterding 2008, p. 450-452;


Rembrandt in Black & White: 143

NH/ WB: only state.
A strong impression with very pale staining along the upper plate mark.
Sheet 73/72 x 58 mm, margins of 1 mm left and right, 2 mm at the top and none at the bottom (+5%).
No watermark. Vertical chain lines at 25 mm,


Provenance

In the collection of Paul Davidsohn (Danzig 1839 – 1924 Berlin (?), Lugt 654), his collector’s mark verso.
Probably in the sale of his collection with C.G.Boerner in Leipzig in April 1920.


Exhibitions

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Het Markiezenhof (Bergen op Zoom), Stedelijk Museum Zutphen, Het Hannemahuis – Harlingen, Jan ten Horne Museum – Weert, Stadsmuseum Harderwijk, March 2013-August 2015;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;