Description
REMBRANDT H. van Rijn (1606 - 1669) - "Johannes Wytenbogardus" (Jan Uytenbogaert, Arminian preacher). 1635. Original etching, drypoint and burin. Ref: Bartsch, n°279. Proof on watermarked laid paper (Head of a madman with dot collar, truncated). Printed in the 17th century before numerous retouchings. "Johannes Uytenbogaert (1557-1644), tutor of Frederick of Orange and minister of Prince Maurice, was in his time the most eminent theologian and preacher of the remonstrators, Calvinists who followed the doctrine of Arminius (Harmensen). [...] This is Rembrandt's first engraved portrait of a person who did not belong to his family. It is also his first official portrait, commissioned, perhaps, by the preacher himself or his followers, to be distributed to the members of the sect" (BNF). 20,7 x 18 cm approximately (oval subject). Condition C (Cut inside the copperplate mark and at the border of the subject (without the tablet), short tears on the edges reaching the subject (one of them more important on the upper edge), slight traces of folds and handling).
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REMBRANDT H. van Rijn (1606 - 1669) - "Johannes Wytenbogardus" (Jan Uytenbogaert, Arminian preacher). 1635. Original etching, drypoint and burin. Ref: Bartsch, n°279. Proof on watermarked laid paper (Head of a madman with dot collar, truncated). Printed in the 17th century before numerous retouchings. "Johannes Uytenbogaert (1557-1644), tutor of Frederick of Orange and minister of Prince Maurice, was in his time the most eminent theologian and preacher of the remonstrators, Calvinists who followed the doctrine of Arminius (Harmensen). [...] This is Rembrandt's first engraved portrait of a person who did not belong to his family. It is also his first official portrait, commissioned, perhaps, by the preacher himself or his followers, to be distributed to the members of the sect" (BNF). 20,7 x 18 cm approximately (oval subject). Condition C (Cut inside the copperplate mark and at the border of the subject (without the tablet), short tears on the edges reaching the subject (one of them more important on the upper edge), slight traces of folds and handling).
