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The Rat Catcher (the Rat Poison Peddler) by Harmensz van Rijn Rembrandt

The Rat Catcher (the Rat Poison Peddler) by Harmensz van Rijn Rembrandt

Christopher-Clark Fine Art



Edition Size: *

Image Size: 5 7/16 x 4 7/16 inches

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

Reference: 26063


Condition: Excellent

Details — Click to read

A strong and dark 17th century/lifetime impression of Bartsch and New Hollstein’s third and final state, Usticke’s first state of two, of this rare etching (characterized bt G.W. Nowell-Usticke in his 1967 catalogue Rembrandt’s Etchings: States and Values as “a scarce plate,” and assigned his scarcity rating of “R” [75-125 impressions extant in that year]), printed after the addition of the diagonal shading to the foliage above the head of the rat catcher but before the strengthening of the outline of the back of his hat, the slipt stroke through his right foot printing strongly and the distant cottages to the right clear, showing no signs of wear.

Catalog: Bartsch 121 iii/iii, Hind 97, Biorklund-Barnard 32-C, Usticke 121 i/ii; New Hollstein 111 iii/iii

Literature regarding this artwork: Albert Blankert, Rembrandt: A Genius and his Impact, Waanders Publishers, Zwolle, 1997, fig 110a, p. 412 (ill.); Christopher White, Rembrandt as an Etcher: A Study of the Artist at Work, Yale University Press, New Haven & London, 1999, no. 232, p. 175 (ill.); Erik Hinterding / Ger Luijten / Martin Royalton-Kisch, Rembrandt the Printmaker, Fitzroy Dearborn Publishers, Chicago & London, 2000, no. 18, p. 123 (ill.); Clifford S. Ackley, Rembrandt’s Journey,: Painter-Draftsman-Etcher, Museum of Fine Arts, Boston, 2003, no. 139, p. 212 (ill.); Gary Schwartz, The Rembrandt Book, Harry N. Abrams, New York, 2006, no. 471, p. 285 (ill.); Émile Michel, Rembrandt: Painter, Engraver and Draftsman, Vol. I, Parkstone International, New York, 2008, no. 104, p. 156 (ill.); Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Fondation Custodia, Paris, 2008, no. 103.

Collections in which impressions of this state of this etching can be found: Rijkamuseum, Amsterdam; Museum her Rembrandthuis, Amsterdam; Baltimore Museum of Art; Kupferstichkabinett der StaatlischeMuseen, Berlin; Museyum of Fine Arts, Boston; Herzog Anton, Ulrich Museum, Braunschweig; Szépmüvészéti Museum, Budapest; Fitzwilliam Museum, Cambridge; Kunstsammlungen der Veste, Coburg; Statens Museum fur Kunst, Copenhagen; Polish Academy of Arts and Sciences, Cracow; Graphischen Sammlung des Hessischen Landesmuseums, Darmstadt; Kupfersthich-Kabinett der Staatlische Kunstsammlungen, Dresden; Gabinetto disegni e stampe degli Uffizi, Florence: Graphische Sammlung des Städel Museums, Frankfurt; Alte Galerie des SteiermUarkischen Landesmuseums Joanneum, Graz; Tylers Museum, Haarlem; Hamburger Kunsthalle, Hamburg; The British Museum, London; State Pushkin Museum of Fine Arts, Moscow; Staaltiche Graphische Sammlung, Munich; Yale University Library, New Haven; The Morgan Museum and Library, New York; Norwich Castle Museum, Norwich; Ashmolean Museum, Oxford; Bibliothèque Nationale, Paris; Musée up Petit Palais, Paris; Fondation Custodia, Collection Frits Lugt, Paris; Musée du Louvre, Paris; Museum Boijmans Van Beuningen, Rotterdam; Fine Arts Museum, San Francisco; The State Hermitage Museum, St. Petersburg; Staatsgalerie, Stuttgart; Kunstmuseum, Vejle; Graphische Sammlung Albertina, Vienna; Muzeum Narodowe Warszawie, Warsaw; Biblioteka Univwersytecka Warszawie, Warsaw; Kunstsammlungen, 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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