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Self-Portrait Open Mouthed, as if Shouting:  Bust by Harmensz van Rijn Rembrandt

Self-Portrait Open Mouthed, as if Shouting: Bust by Harmensz van Rijn Rembrandt

Christopher-Clark Fine Art



Edition Size: *

Image Size: 2 7/8 x 2 7/16 inches

Sheet Size: 3 3/16 x 2 5/8 inches


Condition: Excellent

Details — Click to read

Original etching printed in black ink on laid paper

A clear and clean 17th century impression of Bartsch, Hind, Biorklund-Barnard, Usticke and New Hollstein’s third and final state of this extremely rare etching (characterized by G.W. Nowell-Usticke in his 1967 catalogue Rembrandt’s Etchings: States and Values as “a very scarce portrait”, and assigned his scarcity ratingn of “RR-” [50-75 impressions extant in that year]), printed after the removal of the diagonal scratch from the upper right corner of the plate.

Catalog: Bartsch 13 iii/iii; Hind 31 iii/iii; Biorklund-Barnard 30-N iii/iii; Usticke 13 iii/iii; New Hollstein 67 iii/iii.

2 7/8 x 2 7/16 inches

Sheet Size: 3 3/16 x 2 5/8 inches 

In excellent condition, with small margins outside the platemark on all four sides.

Literature regarding this artwork: Christopher White/Quentin Buvelot, Rembrandt by Himself, National Gallery Publications Ltd., London 1999, no. 23, p. 128 (ill.); Christopher White, Rembrandt’s Etchings: A study of the Artist at Work, Yale University Press, New Haven & London, 1999, no. 146, p. 117 (ill.); Erik Hinterding/Ger Luijten; Martin Royalton-Kisch, Rembrandt the Printmaker, Fitzroy Dearborn Publishers, Chicago & London, 2000, p. 93 (ill.); Clifford S. Ackley, Rembrandt’s Journey: Painter-Draftsman-Etcher, Museum of Fine Arts, Boston, 1003, no. 16, p. 81 (ill.). Stephanie S. Dickey, Rembrandt Portraits in Print, John Benjamins Publishing Company, Philadelphia, 2004, no. 19, p. 222 (ill.).  

Collections in which impressions of this state of this etching can be found: Kunstmuseum, Basel; Kupferstichkabinett der Staatliches Museen, Berlin; Museum of Fine Arts, Boston; Kunsthalle, Bremen; Cabinet des Estampes, Bibliothèque Rayale de Belgique, Brussels; Szépmüvészéti Museum, Budapest; Fitzwilliam Museum, Cambridge; Kaunstsammlungen des Veste, Coburg; Statens Museums fur Kunst, Copenhagen; Graphischen Sammlung des Hessischen Landesmuseums, Darmstadt; Kupferstich-Kabinett der Staatliche Kunsrsammlungen, Dresden; Graphische Sammlung des Städel Museums, Frankfurt; Teylers Museum, Haarlem; Hamburger Kunsthalle, Hamburg; Prentenkabinet des Rijksuniversiteit, Leiden; The British Museum, London; Staatliche Graphische Sammlung, Munich; The Metropolitan Museum of Art, New York; Bibliothèque Nationale, Paris; Museum Boijmans Van Beuningen, Rotterdam; The State Hermitage Museum, St. Petersburg; Graphische Sammlung Albertina, Vienna; Muzeum Narodowe Warszawie, Warsaw; National Gallery of Art, Washington.

The usual title of this little etching – one of the studies in which Rembrandt portrayed himself with different expressions – leaves unresolved the question of which emotion is intended here.  Nonetheless it is quite clear that he is shouting out with a face contracted in pain. 

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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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