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Flight Into Egypt:  Crossing a Brook by Harmensz van Rijn Rembrandt

Flight Into Egypt: Crossing a Brook by Harmensz van Rijn Rembrandt

Christopher-Clark Fine Art



Edition Size: *

Image Size: 3 3/4 x 5 5/8 inches

Sheet Size: * inches

Signed In Plate

Condition: Excellent

Details — Click to read

Original etching, engraving and drypoint printed in black ink on laid paper

A superb 17th century/lifetime impression of Bartsch and New Hollstein’s only state, Usticke’s first state of three, printed prior to the appearance of the horizontal and diagonal scratch across the Virgin’s knees and lap.

Catalog: Bartsch 55; Hind 276; Biorklund-Barnard 54.D; Usticke 55 i/iii; New Hollstein 277.

3 ¾ x 5 5/8 inches

Trimmed down to or just outside the platemark on all four sides.

Literature regarding this artwork: Michael Zell, Reframing Rembrandt: Jews and the Christian Image in Seventeenth-Century Amsterdam, University of California Press, Berkley-Los Angeles-London, 2002, fig. 79, p. 128 (ill.);

Gary Schwartz, The Rembrandt Book, Harry N. Abrams, New York, 2006, fig. 480, p. 288 (ill.);

Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Thoth Publishers, Bussun, 2008, no. 42, vol. II p. 49 (ill.);

Shelley Perlove/Larry Silver, Rembrandt’s Faith: Church and Temple in the Dutch Golden Age, Pennsylvania State University Press, University Park, Pennsylvania, 2009, fig. 116, p. 171 (ill.).

Collections in which impressions of this state of this etching can be found: Rijksprentenkabinet, Rijksmuseum, Amsterdam; Museum het Rembrandthuis, Amsterdam; Baltimore Museum of Art; Kunstmuseum Basel; Kupferstichkabinett der Staatlichen Museen, Berlin-Dahlem; Museum of Fine Arts, Boston; Kunsthalle Bremen; Herzog Anton, Ulrich Museum, Braumschweig; Cabinett des Estampes, Bibliothèque royale de Belgique, Brussels; Szépmüvészéti Museum, Budapest; Fitzwilliam Museum, Cambridge; Fogg Art Museum, Harvard University; Art Institute of Chicago; Kunstsammlungen der Veste, Coburg; Statens Museum fur Kunst, Copenhagen; Polish Academy of Arts and Sciences, Cracow; Graphischen Samlung des Hessischen Landesmuseums, Darmstadt; Kupferstich-Kabinett des Staatliche Kunstsammlungen, Dresden; Gabinetto disegni e etampe degli Uffizi, Florence; Graphische Sammlungen des Städel Museums, Frankfurt am Main; Teylers Stichting, Haarlem; Hamburger Kunsthalle, Hamburg; Prentenkabinet der Rijksuniversiteit, Leiden; The British Museum, London; Victoria & Albert Museum, London; State Pushkin Museum of Fine Arts, Moscow; Staatliche Graphische Sammlung, Munich; Yale University Library, New Haven; The Metropolitan Museum of Art, New York; The New York Public Library; The Morgan Library and Museum, New York; Norwich Castle Museum; Bibliothèque Nationale, Paris; Duthuit Collection, Petit Palais, Paris; Fondation Custodia, Collection Frits Lugt, Paris; Collection Rothschild, Musée du Louvre, Paris; Philadelphia Museum of Art; The State Ermitage Museum, St. Petersburg; Staatsgalerie Stuttgart; Musée Jenisch, Vevey; Graphische Sammlung Albertina, Vienna; Muzeum Narodowe Warszawie, Warsaw; Biblioteka Uniwersytecka Warszawie, Warsaw; National Gallery of Art, Washington D.C.; Library of Congress, Washington D.C.; Kunstsammlungen zu Weimar.

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The Artist

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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