Rembrandt Harmenszoon van Rijn
1606-1669
Christ at Emmaus. The Larger Plate
1654
Etching and drypoint on paper.
211 x 160 mm
RvR 138
NHD number
NHD 283, II
Notes
Watermark: None.
Luke 24:13-31.
Drypoint strokes have been added to model and describe more literally the head of Christ and the surrounding rays, the apostle at the left, the table, the canopy, and the hat of the other apostle at the right. (Boston 1969, p. 136)
Light, which in the first state radiates throughout, is now concentrated around the head of Christ. The drypoint burr is unusually rich, suggesting that this was one of the earliest impressions pulled from the plate in its second state. (Boston 1969, no. 88)
Luke 24:13-31.
Drypoint strokes have been added to model and describe more literally the head of Christ and the surrounding rays, the apostle at the left, the table, the canopy, and the hat of the other apostle at the right. (Boston 1969, p. 136)
Light, which in the first state radiates throughout, is now concentrated around the head of Christ. The drypoint burr is unusually rich, suggesting that this was one of the earliest impressions pulled from the plate in its second state. (Boston 1969, no. 88)
Inscriptions/Markings
Signed and dated, "Rembrandt f. 1654.". Inscribed on verso at lower right in graphite, "Gibbs very fine BM / 3 R+".
Provenance
James Gibbs (fl. mid-19th century), London (no mark; see Lugt 1125, identified as John Gibbs); Theodore Irwin (1827-1902), Oswego, New York; from whom purchased by J. Pierpont Morgan in 1900.
Associated names
Gibbs, James, 19th cent., former owner.
Irwin, Theodore, 1827-1902, former owner.
Morgan, J. Pierpont (John Pierpont), 1837-1913, former owner.
Irwin, Theodore, 1827-1902, former owner.
Morgan, J. Pierpont (John Pierpont), 1837-1913, former owner.
Bibliography
Stampfle, Felice et al. Rembrandt, experimental etcher. Boston : Museum of Fine Arts, 1969, p. 136 & no. 88.
Classification
Department
Century prints
School
Catalog link