Rembrandt van Rijn (1606-1669), ‘Faust’ (c. 1652), (B/ Wh&B 270 & NHD 270 II (VII)

Rembrandt van Rijn (1606-1669), ‘Faust’ (c. 1652), (B/ Wh&B 270 & NHD 270 II (VII)

Trimmed on the plateline or just within (bottom right). This is a good impression but without the strong burr of the drypoint (which appears only in a few prints). Verso: Unidentified mark (not in Lugt), probably an old pricecode). Literature: Bartsch 270; White-Boon 270; Hind 260; New Hollstein (NHD second state (of seven). This is a posthume print (c. 1700), with the two dots added in the lower right corner but before the added shading of the third state. No watermark, however the construction of the chainlines fits perfectly with paper with a “Zeven Provinciën, Vryheyd” watermark (Ash & Fletcher Aa), which is datable 1650-1655 (report/certificate available from the Foundation for Paper Research Stichting FPR/ Laurentius/ dated Oct 1991 with accompanying X-ray). At the end of the 17th century this etching was still called "the practicing alchemist"; the title "Faust" dates from the 18th century. The letters INRI stand for Iesus Nazarenus Res Iudaeorum (Jesus of Nazareth, King of the Jews): it is the text that Pilate had attached to Christ's cross. The other letters in the circle of light form an anagram: from back to front one reads a prayer text. The letters INRI and the anagram appear exactly like this on a 17th-century amulet. The composition seems to be based on two iconographic traditions: the scholar in his study and the Saint or the Evangelist surprised by a vision. Other literature: All etchings by Rembrandt, Gary Schwartz, 1977; Chronicle of the Rembrandt House 1992/1; The Collection of the Seal Stamps in the Kestner Museum, Hannover, Page 90.

Etching, dry needle and burin, 20,6 x 16 cm.