REMBRANDT

The Resurrection of Lazarus, large plate, ca. 1632, etching and burin…

Description

REMBRANDT The Resurrection of Lazarus, large plate, ca. 1632, etching and burin, 36.4 x 25.7 cm, cut at the copperplate, the frame complete (Bartsch-Hollstein 73 x/x, New Hollstein 113 ix/x) the copperplate mark, the frame complete (Bartsch-Hollstein 73 x/x, New Hollstein 113 ix/ ix) nice proof, late print, remnant of sticker on verso, very slight stains.

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REMBRANDT The Resurrection of Lazarus, large plate, ca. 1632, etching and burin, 36.4 x 25.7 cm, cut at the copperplate, the frame complete (Bartsch-Hollstein 73 x/x, New Hollstein 113 ix/x) the copperplate mark, the frame complete (Bartsch-Hollstein 73 x/x, New Hollstein 113 ix/ ix) nice proof, late print, remnant of sticker on verso, very slight stains.

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Estim. 100 - 150 EUR

Rovinski, l'œuvre gravé de Rembrandt, G. Goebel, 1923, 2 volumes, folio, 321 plates, vignettes 441, 819 and 950 are missing, plate volumes only, damaged, broken wrappers.

Estim. 3 500 - 4 500 EUR

Neapolitan school; circa 1700. "The Resurrection of Lazarus". Oil on canvas. Re-coloured. It presents faults and repainting. Measurements: 100 x 156 cm; 110 x 165 cm (frame). There is in this image a dramatic effect generated by the illumination of tenebrist heritage and by the composition that the artist has used to narrate the theme of the resurrection of Lazarus. Based on a classical frieze-like structure, the artist cuts down the format, focusing only on the busts of the figures and eliminating any anecdotal elements or unnecessary depth that would distract the viewer from the subject. It is true that the figure of Christ stands out for the tonalities with which he has been portrayed, but the indisputable protagonist of this work is Lazarus and his exasperating body, marked by a musculature that reveals his bony structure, revealing how the flesh is consumed by death. The author takes the anatomy of this religious figure to the extreme and is heir to the form of Neapolitan Baroque painting. The theme of the resurrection of Lazarus can be identified iconographically in this work. In the Bible according to John 11: 1-44, Jesus receives a message that Lazarus is sick and his two sisters are looking for his help. Jesus tells his followers: "This sickness will not end in death. No, it is for the glory of God so that the Son of God may be glorified through it".Jesus then delays his departure for two days. The disciples are afraid to return to Judea, but Jesus says, "Our friend Lazarus is asleep, but I am going to wake him up." When the apostles don't understand, he clarifies: "Lazarus is dead, and for your sake, I'm glad I wasn't there so you can believe. When they arrive in Bethany, Lazarus has been dead and buried for four days. Before they enter the village, Martha, Lazarus' sister, meets Jesus and says, "If you had been here, my brother would not have died". Jesus assures Martha that her brother will rise again and says, "I am the resurrection and the life. He who believes in me will live, even if he dies; and he who lives and believes in me will never die. Do you believe this?" Martha's affirmation that she really believes: "Yes, Lord. I believe that you are the Messiah, the Son of God, who is to come into the world," is only the second time (after Nathanael) that someone declares Jesus to be the Son of God and the first time that someone compares him as 'Messiah' and 'Son of God' together. The only other time this happens in the whole Gospel is in the explanation the author of the Gospel gives for writing his Gospel at the end. On entering the village, Jesus meets Mary and the people who have come to comfort her. Seeing her pain and weeping, Jesus is deeply moved. After asking where he was buried, the shortest verse of the four Gospels is found and the scripture says: Jesus wept. After that, Jesus asks for the stone to be removed from the tomb, but Martha insists that there will be a smell. To which Jesus replies, "Didn't I tell you that if you believe, you will see the glory of God?". Then Jesus looked up and said, "Father, I thank you for listening to me. I knew that you always listen to me, but I said this for the sake of the people who are here, so that they may believe that you sent me." When he had said this, Jesus cried out in a loud voice, "Lazarus, come out!" Then Lazarus came out, with his hands and feet wrapped in strips of linen and a cloth around his face. Jesus said to them, "Take off your bandages and let him go. "Lazarus is mentioned again in chapter 12 of John's Gospel. Six days before the Passover in which Jesus is crucified, Jesus returns to Bethany and Lazarus attends a dinner at which Martha, his sister.

Estim. 500 - 600 EUR

REMBRANDT VAN RIJN (1606-1669) The raising of Lazarus / Résurrection de Lazare (small plate). 1642 Bartsch 72; Hind 198; Biorklund BB 42-B Etching. Proof on watermarked laid paper, from the Basan edition. H. 15 cm - W. 11.5 cm (the copper) - H. 15.7 cm - W. 11.9 cm (with margin fillet) Residue of old mountings on verso, small tear filled at top right (over 1 cm).

Starting price 170 EUR

I. CLAUSSIN (1766) after REMBRANDT (1606), Rembrandt's son, around 1790, Ignace Joseph de Claussin (around 1766 Lunéville (Meurthe-et-Moselle) - 1844 Les Batignolles (Paris)) after Rembrandt: Rembrandt Harmenszoon van Rijn (1606 Leiden - 1669 Amsterdam): Rembrandt's son with cap, c. 1790, Etching Technique: Etching on Paper Stamp: Verso Collector's stamp, Franz Schartiger Siegen. Siegen Inscription: At the lower part inscribed in the printing plate: "Le fils de Rembrandt". Date: c. 1790 Description: Copy after Rembrandt, by Ignace Joseph de Claussin (1766-1844). 19th century impression on yellowish laid paper with a clear structure, probably from the edition "Recueil" by Pierre-Francois Basan and his successors. With a clear grey plate tone. Provenance: Keywords: Old master prints, 18th century, Baroque, Portraits, France, Size: Paper: 12,6 cm x 10,2 cm (5 x 4 in) Condition: Rather good condition. Slight foxing in the margin, larger foxing stain in the upper right corner. Slight water stains in the left margin and in the centre of the image. Remains of an old mount on the reverse.

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