Rembrandt art of etching
History of Rembrandt's Copper Plates
About the Millennium Impressions
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Millennium Impression images
Biography of Rembrandt Van Rijn

Jan Asselyn, Painter (B.277)

Jan Asselyn, Painter

  • Etching and drypoint on thin laid paper, trimmed to the platemark. Signed and dated Rembr f. 16 (with the last two digits illegible), lower right corner.  Shield (?) with Paris 1680 watermark (Ash and Fletcher 39 A.a.  pg. 220), which Ash and Fletcher notes that "impressions with this watermark maybe from the Recueil Basan."
  • Biorklund Barnard's fourth state of four, White and Boon's third state of three, and Nowell Eusticke's third state of six after the right cheek was retouched with a group of fine lines that follow the contour of the cheek  down to the chin.
  • According to Nowell Eusticke, a late third state impression as issued by P.F. Basan (1785-1797) showing the series of close parallel horizontal lines along the lower left border beyond the last vertical line at left, and the fine vertical parallel lines protruding above the hat at right.
  • According to White and Boon the sitter, Jan Asselyn, returned from Rome in 1645 and married the sister of a former pupil of Rembrandt, Ferdinand Bol. The term Crabtree comes from a deformity in the sitter's hands.
  • Ash and Fletcher in their commentary on The Shield (?) with Paris 1680 watermark (Ash and Fletcher 39 A.a.) specifically state "the impressions with this watermark may be from the Recueil Basan. The plates for all the etchings with this watermark survived after Rembrandt's death, and the etchings are among those printed by Pierre Francois Basan".

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