Null Edelopal in mother rock
Found in Australia, partially translucent precious …
Description

Edelopal in mother rock Found in Australia, partially translucent precious opal with a play of colour typical of the gemstone, back cut, dimensions of the step approx. 20 x 20 x 9 cm, weight approx. 3.5 kg.

358 

Edelopal in mother rock Found in Australia, partially translucent precious opal with a play of colour typical of the gemstone, back cut, dimensions of the step approx. 20 x 20 x 9 cm, weight approx. 3.5 kg.

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Rembrandt Harmensz. van Rijn (1606-1669) The Sacrifice of Abraham. 1655. Etching and drypoint. 132x155 [134x157]. Bartsch, Hollstein 35; Hind 283; New Hollstein 287. Superb, brilliant proof with perceptible drypoint burrs, on laid paper (partial watermark: Strasbourg lily). Two tiny holes visible through transparency at the left edge. Thin band of old glue perceptible around the perimeter on verso. A tiny thinning visible by transparency in the upper left corner on verso, under the mounting tab. Another on the lower left edge of the verso leaf. Two small remnants of mounting tabs at right edge on verso. Margin fillets. Provenance: - A. P. F. Robert-Dumesnil (1778-1864), Paris (Lugt 2200). - George Baillie-Hamilton, 12th Earl of Haddington (1894-1986), Tyninghame House, East Lothian, Scotland; his sale, Sotheby's, London, November 9, 1953, lot 9 (acquired by Colnaghi). - Colnaghi, London (with stock number C. 28898 in pencil on verso). - Acquired from Colnaghi, March 2, 1959 (85). - Christie's sale "Fifty Prints by Rembrandt van Rijn, A Private English Collection", July 5, 2016, no. 43. "Rembrandt, wishing to make the miracle even more intense and in line with traditional iconography, has depicted the Angel intervening more concretely than in the biblical account: with his hair still waving in the wind from his run and his wings all rustling, he has vigorously grasped both of Abraham's arms in an embrace as powerful as it is symbolic. [...] Theatrical gesticulation gave way to the emotion of an entirely spiritual experience. The child's resignation to a fate he does not understand is heartbreaking, and he stretches out his neck with the trust and submission of a lamb. [...] The old man's face, seemingly listening to an inner voice, has a poignant force: pain seems to have forever marked his features and drowned his eye sockets in shadow, as he turns towards the youthful angel he cannot see. [...] The main group, with its simple, powerful design, is presented with all the compactness of a ronde-bosse carved from the same block of marble." (S. de Bussierre, et al, Rembrandt, eaux-fortes, collection Dutuit, Paris, Petit Palais, 1986, p. 257).