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The Hundred Guilder Print (Christ Healing the Sick) (B.74)

Christ Healing the Sick

  • Etching and drypoint on firm laid paper with small, clean margins. With the Crowned Strasbourg Lily watermark and initials 4WR (Ash and Fletcher ch. 36).  Collector's stamp of H. Vever (Lugt supplement 1381b), black ink, verso. Skillfully remargined all the way around, with remains of an old mounting on upper margin.
  • White and Boone's second state of two, Biorklund Barnard's second state of two, and Nowell Eusticke's second state of five, after the addition of the diagonal shading to the neck of the ass.
  • According to Nowell Eusticke, an early second state impression illustrating the pupil of Christ's right eye visibly larger than his right. With full contrast and burr, especially in the area of the mother and child.
  • A seventeenth century impression. 
  • Nowell Eusticke refers to this early second state impression before the Watelet retouch and Baillie rework as, "very fine, strong and sharp, with much burr".
  • This scene is a depiction of the New Testament, Matthew 19. Each section of the plate illustrates a different verse including the Pharisees who had the discussion with Christ about marriage and divorce; the rich young man He advised to sell his possessions to benefit the poor; the camel alluding to His observation that it is easier for the camel to pass through the eye of a needle than the rich to enter the Kingdom of Heaven; the small children He asked to be brought to Him; and, the paralytic woman He healed.
  • For six years Rembrandt intensely labored over this work, creating no more than eight first state impressions. It is his quintessential example of the Baroque use of chiaroscuro, the strong contrast of light and shadow, used to evoke a theatrical and highly emotional image with the emphasis being on balance through the harmony of parts in subordination of the whole. These qualities of vigorous movement and emotional intensity are the primary constituents of Baroque art. It was extremely well received by his contemporary collectors, and remains one of the most sought-after etchings of Rembrandt's oeuvre, to this day. 
  • Rembrandt's mastery at working the copperplate for this etching is reminiscent of the tonal qualities of a mezzotint which was invented in 1642 by Ludwig von Siegen of Utrecht.
  • Provenance: Henri Vever (Lugt 1381b). Henri Vever came from a family of jewelers who moved to Paris in 1871. He was a student at the school of Decorative and Fine Arts and later became a reputable jeweler. At the age of 17, he acquired his first Rembrandt and continued to collect a variety of artwork including Japanese objects and prints, ancient and modern books as well as Chinese prints. Also from a private collection North Rhine-Westphalia.

For more information on the Park West Rembrandt collection: (800)-521-9654 xt. 4 or (248) 354-2343.