Rembrandt Van Rijn, Etching & Drypoint: JAN ASSELYN, PAINTER ("Krabbetje')

Rembrandt Van Rijn, Etching & Drypoint: JAN ASSELYN, PAINTER ("Krabbetje')

Description: An original Rembrandt Van Rijn Etching & Drypoint print.
c. 1647
Original etching, engraving and drypoint printed in black ink on laid paper.
igned and dated in the plate lower right Rembr. f. 16?? (the last two numbers indistinct).
A fine, clear and clean 18th century impression of Bartsch's third and final state, Usticke's fourth state of six, New Hollstein’s fifth state of seven, printed after the addition of the regular crosshatching under the right eyebrow and to the right cheek, but well prior to the late reworking of the entire plate, probably printed by Pierre Françoise Basan.
Catalog: Bartsch 277 iii/iii; Hind 227; Biorklund-Barnard 47-I; Usticke 277 iv/vi; New Hollstein 236 v/vi.
7 1/2 x 6 5/8 inches
Rembrandt's etching of the Dutch painter of Italianate landscapes, Jan Asselyn, is the only clearly documented portrait of the relatively short-lived painter. The etching is generally dated, on the basis of its conception and style, at about 1647, after Asselyn returned to Amsterdam from Rome during that year. While their art was radically different, Rembrandt and Asselyn were probably acquainted, for Asselyn's brother-in law was Rembrandt's former pupil Ferdinand Bol.

Rembrandt's portrait of Asselyn is formal and dignified. Asselyn is shown as the gentleman-artist, dressed not for the studio but for the street. The conventional pose, with hand on hip, is reminiscent of portraits earlier designed and etched by Anthony van Dyck. Rembrandt in fact cleverly used the pose to conceal, by means of ruffled cuff and embroidered glove, Asselyn's crippled left hand. In Rome, the members of the rowdy Netherlandish artist's club, the Bentveughels, had, because of this deformity, given Asselyn the rather cruel nickname of Krabbetje (“little crab”).

Dimensions: Image Size: 7 1/2 x 6 5/8 inches
Framed Size: 20 1/4 x 22 inches
Artist or Maker: Rembrandt Van Rijn
Medium: Etching & Drypoint
Date: c. 1647
Condition Report: The blank title margin below the image trimmed away, trimmed on or just outside the platemark elsewhere, otherwise in excellent condition.
Exhibited: Collections in which impressions of this etching can be found: Kunstmuseum Basel, Museum of Fine Arts, Boston; Cabinet des Estampes, Bibliothèque royale de Belgique, Brussels; Szépmüvészéti Museum, Budapest; Kunstsammlungen der Veste, Coburg; Statens Museum fur Kunst, Copenhagen; Gabinetto disegni e stampe degli Uffizi, Florence; State Heermitahe Museum of Art, St. Petersburg; The Library of Congress, Washington D.C.
Literature: Christopher White, Rembrandt as an Etcher: A Study of the Artist at Work, Yale University Press, New Haven & London, 1999, no. 199, p. 152 (ill.); Erik Hinterding/Ger Luijten/Martin Royalton-Kisch, Rembrandt the Printmaker, Fitzroy Dearborn Publishers, Chicago & London, 2000, no. 57, p. 234 (ill.); Clifford S. Ackley, Rembrandt's Journey: Painter-Draftsman-Etcher, Museum of Fine Arts, Boston, 2003, no. 87, p. 156 (ill.); Stephanie S. Dickey, Rembrandt Portraits in Print, John Benjamins Publishing Co., Amsterdam, 2004, no. 127, p. 291 (ill.); Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Thoth Publishers, Bussum, 2008, no. 205, vol. II p. 231 (ill.).
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