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B 144

Two tramps, a man & a woman

  • French title:
    Paysan et paysanne marchant
  • German title:
    Wanderendes Bettlerpaar
  • Dutch title:
    Twee landlopers, een man en een vrouw
  • New Hollstein:
    130
  • Rembrandt in Black & White:
    120

Etching. Ca. 1634.
Size: 63 x 48 mm. Surface: 30 cm2.
Not signed, not dated. It is part of a series of prints of beggars started in 1631, but this one is probably made somewhat later.

NH 130 – 1st (?) state of II

Zoom

Copper Plate

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

Rarity of impressions

  • In auctions (2000-2025): rare                                                   Early: 8                                         ⦿⦿⦿⦿⊙⊙

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

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

Subject/Sitter

The figures in this cute little plate were earlier referred to as peasants (Wandelende boer en boerin) and only later ‘downgraded’ to tramps. On the back of the woman a baby can be recognized. Note the few strokes at right, suggesting a landscape.

Picture

This is the only print in which Rembrandt may have used the échoppe, an etching needle with an oval end. It was often used by Jacques Callot, the French engraver after which Rembrandt made his pictures of beggars and streetfolk.

 

Copies

There is one copy in the same direction (copy A) by Jean Sauveur Le Gros (1795, 63 x 48 mm, WB 1).
There is also one copy in reverse (copy B), by Francesco Novelli (his nr 24, two states, 78 x 53 mm, WB 2).

Attributions and reviews

The plate is not by Rembrandt according to Singer.

States

NH lists two states, as does Münz. Both states contemporary. All other authors list one state only.
In the 2nd state the plate edges are smoothened, reducing the size of the plate, especially below (NH).
In early impressions there are horizontal scratches in the upper left corner. In later impression the sky on the left side is wiped clean (only traces visible), but new scratches are added on the right side.

 

Literature

H 116, BB 34-2, G 142, M 104, Mz 124, RA 413-414, Cl 143, W 144, Bl 110, Du 142, CD 92, S 65.
Hinterding 2008, p. 283-284; Rutgers/Standring 2018, p. 46; Rutgers/Standring 2018, p. 46;

Rembrandt in Black & White: 120

NH: 1st (?) state of II/WB: Only state
A very good, early impression. Some plate edges printed and the scratches in the left corner visible, suggesting a 1st state (NHD).
Sheet 75/76 x 59/60 mm, wide margins of 5 mm all around (+51%)
No watermark, vertical chain lines.

Provenance

The two handwritten D’s were previously assigned to Baron D. Vivant-Denon (1747-1825, Paris), but are now considered to refer to the English writer and art specialist Daniel Daulby (Liverpool 1746-1798 Ryder Mount, Lugt 738). Daulby is the author of one of the early catalogues of Rembrandt etchings, published in Liverpool in 1796.
It was probably in the posthumous sale of his collection with T. Vernon in Liverpool in August 1799.
In the collection of Dr. Friedrich Andreas Lieberg, (B 1898, Cassel – Buenos Aires, Lugt 1681ter), his collector’s mark in black ink verso;
In the collection of Mr. Jiles (Jelle) Boon (1916-2009, Rhoon, Lugt 3355);

Exhibitions

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Stedelijk Museum Zutphen, Het Hannemahuis (Harlingen), Jan ten Horne Museum (Weert), Stadsmuseum Harderwijk, March 2013-August 2015; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White, Chateau des Penthes (Geneva), June – October 2016;
Rembrandt, fotograaf avant-la-lettre, Museum De Reede (Antwerp), January – May 2023;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;

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