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Abraham Francen, Art Dealer rembrandt-abraham-francen_-art-dealer.jpg

Abraham Francen, Art Dealer

Item Code: RVR-57-2-sp
Medium
Etching, drypoint and burin
Signed
Unsigned
Cat Rais No
BB57 - 2 (X) (B 273)
Width (cm)
20.8
Height (cm)
15.8
Date of Work
Assumed date: 1657
Suite
Recueil
Base price $5,152
Includes free framing and UK delivery
State:X. Assumed date 1657. The states: I:Strong sunlight enters window. Francen sits on a stool with his left leg extended. Curtain hanging over triptych's right wing. II: Left leg deleted. Stool converted into an armchair.III: Trial print (RPK only) where curtain and back of chair partly deleted. IV: Curtain completely deleted but a curtain rod appears above window. Trees are seen outside. Back of chair higher and adorned with lion's head which covers lower hinge of window. Nail heads indicate that chair is covered in leather. Right hand added holding paper where a figure is seen on the reverse. Francen's eyes darkened. V: Lower part of triptych frame has a new egg shaped decoration. VI: Figure on reverse of paper erased. Hair darker. VII: Some further rework in the hair. With a slipped stroke on the left cheek pointing towards the corner of the eye. VIII: All the background round the triptych taken down heavily with the burnisher, but before the rework mentioned below. IX: Plate completely reworked, mainly with fine shading. The ends of a large number of fine vertical lines are seen projecting from above and below on to the window sill. Background round triptych again dark, but all the work here differs entirely from the earlier states. The rework was possibly made by Watelet. X: The upper trees seen through the window shaded with horizontals. Modern: Basan ( In state X in the first edition of the Recueil)
Rembrandt PortraitBorn in Leiden in 1606, Rembrandt was to become the most important artist of the Dutch Golden Age. His unparalleled skills and achievements as an etcher have made him a continuous source of inspiration to scholars and collectors alike, as well as a profound influence on many later artists, including Goya, Whistler and Picasso.

The technical mastery and inventiveness with which Rembrandt made his 300 or so etchings was already recognised in his lifetime and his prints were widely sought after. Baldinucci, the famous Florentine biographer, praised Rembrandt’s ‘highly bizarre technique, which he invented for etching and which was his alone, being neither used by others or seen elsewhere’ (1686). Rembrandt died in 1669.
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