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Lieven van Coppenol: The large plate. rembrandt-lieven-van-coppenol-the-large-plate..jpg

Lieven van Coppenol: The large plate.

Item Code: RVR-58-F-sp
Etching, drypoint and burin
Cat Rais No
BB58 - F (VI) (B 283)
Width (cm)
Height (cm)
Date of Work
Base price $4,577
Includes free standard framing and UK delivery
State VI. The states: I: Background blank. Right arm lightly shaded but considerably brighter than the waistcoat. Neither the upturned cuff nor the narrow shirt sleeve has any defined outlines. II: Except at left margin the background id filled up by a curtain with a decorative fold near right margin. Dark shadows on the curtain round and behind the head. Right arm somewhat darker but still brighter than waistcoat. The narrow white shirt sleeve is outlined. III: The whole right arm darkened. The unturned cuff is out lined by a dark shadow. A narrow shadow from the quill falls over the hand and the cuff. IV: The curtain fold at right is darkened by a series of descending lines which follow the curves of the fold. The shadow from the cuff is now as broad as the cuff and very dark. An impression of this state sold at the Rudge sale in 1924 has the following inscription in Coppenol's own handwriting in pen and ink on the white area representing the paper which Coppenol holds: 'Qui art à/Par tout part à/Lieven van Coppenol/ R. v. Rijn fecit anno 1658'. V: The shading of the curtain in IV is continued to the left with similar but stronger lines. VI: Plate reduced to 159 x 133 mm, leaving only the head. Modern: Basan (No rework 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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