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Christ Carried to the Tomb by Harmensz van Rijn Rembrandt

Christ Carried to the Tomb by Harmensz van Rijn Rembrandt

Christopher-Clark Fine Art



Edition Size: *

Image Size: 5 3/16 x 4 ¼ inches

Sheet Size: 5 3/8 x 4 7/16 inches


Condition: Excellent

Details — Click to read

Original etching and drypoint printed in black ink on laid paper

Signed in the plate lower center Rembrandt.

A superb 17th century/lifetime impression of Bartsch, Usticke and New Hollstein’s only state.

Catalog: Bartsch 84; Hind 215; Biorklund-Barnard 45-3; Usticke 84; New Hollstein 223.

5 3/16 x 4 ¼ inches

Sheet Size: 5 3/8 x 4 7/16 inches 

In excellent condition, printed on a sheet with small margins on all four sides.

Provenance: ex-collection Adam Gottlieb Thiermann (German, died 1861), the well known Berlin merchant and collector of Rembrandt prints; upon Thiermann’s death his collection of Rembrandt prints was donated by his wife to the Kupferstichkabinett des Staatlichen Museen (Cabinet of Prints of the State Museums) in Berlin, bearings its collection stamp [Lugt 1633] in black ink verso; also bearing the Kupferstichkabinett’s duplicates stamp [L. 2482] in black ink verso.


iterature regarding this artwork: Christopher White, Rembrandt as an Etcher, Yale University Press, New Haven & London, 1999, p. 10; Clifford S. Ackley, Rembrandt’s Journey: Painter-Draftsman-Etcher, Museum of Fine Arts, Boston, 2003, p. 45; Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Thoth Publishers, Bussum, 2008, no. 70, vol. II p. 81 (ill.); Shelly Perlove & Larry Silver, Rembrandt’s Faith: Church and Temple in the Dutch Golden Age, The Pennsylvania State University Press, 2009, pp. 307-08.

Collections in which impressions of this etchings can be found: Rijksmuseum, Amsterdam; Museum het Rembrandthuis, Amsterdam; Baltimore Museum of Art; Kunstmuseum Basel; Kupfersticjkabinett der Staatliche Museen, Berlin; Museum of Fine Arts, Boston; Herzog Anton Ulrich Museum, Braunschweig; Cabinet des Estampes, Bibliohèque Royale de Belgique, Brussels; Szépmüvészéti Museum, Budapest; Fitzwilliam Museum, Cambridge; Fogg Art Museum, Harvard Univesity, Cambridge; The Art Institute of Chicago; Kunstsammlungen der Veste, Coburg; Statens Museum fur Kunst, Copenhagen; Polish Academy of Arts and Sciences, Cracow; Graphischen Sammlung des Hessischen Landesmuseums, Darmstadt; Kupferstich-Kabinett der Staatliche Kunstsammlungen, Dresden; Gabinetto disegni e stampe degli Ufizzi, Florence; Graphische Sammlung des Städel Museums, Frankfurt; Teylers Museum, Haarlem; Hamburger Kunsthalle, Hamburg; Prentenkabinet des Rijkauniversiteit, Leiden; The British Museum, London; Victoria and Albert Museum, London; The State Pushkin Museum of Fine Arts, Moscow; Staatlische Graphische Sammlung, Munich; Yale University Library, New Haven; The Metropolitan Museum of Art, New York; The Morgan Museum and Library, New York; Norwich Castel Museum; Ashmolean Museum, Oxford; Bibliothèque Nationale, Paris; Musée du Petite Palais, Paris; Fondation Custodia, Collection Frits Lugt, Paris; Muée d Louvre, Paris; Norton Simon Museum, Pasadena; Kulturhistorisk Museum – Der Bulske Stuer, Randers; Museum Boijmans Van Beuningen, Rotterdam; The State Hermitage Museum, St. Petersburg; Staatsgaletrie Stuttgart; Musée Jenisch, Vevey; Graphische Sammlung Albertina, Vienna; Muzeum Narodowe Warszawie, Warsaw; Biblioteka Uniwersyteka Warszawie, Warsaw; National Gallery of Art, Washington; Library of Congress, Washington; Kunstsammlungen zu Weimar. 

“And when Joseph [of Arimathea] had taken the body, he wrapped it in a clean linen cloth, and laid it in his own new tomb, which he had hewn out in the rock: and he rolled a great stone to the door of the sepulcher, and departed.  And there was Mary Magdalene, and the other Mary, sitting over against the sepulcher.” (Matthew 27: 59-61)

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Harmensz van Rijn Rembrandt

Approximately 300 etchings and drypoints by Rembrandt were produced between 1626 and 1665. His work as a printmaker paralleled his career as a painter; he rarely dealt with the same subjects in both mediums, and he rarely made prints of his paintings. Above all, he was a brilliant experimenter and inventor in this field, frequently using standard materials in unexpected ways. His influence on printmaking is still visible in contemporary etchings.

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