REMBRANDT (1606-1669):

Beggar seated on a Bank
(a probable self-portrait)

Etching, 1630. Bartsch, Hollstein (White and Boon) 174, only state, Nowell Usticke’s first state of two. A careful, early hand has written in an unobtrusive full signature in the shading lower left, in the same ink as the etching. A hand-signed impression is mentioned in De Claussin (the first re-edition of Gersaint, 1824-8), no. 171.
Provenance: Joseph Vallette? (pencil initials JVV? on verso), whose sale in 1807 included an impression, sold to J. Yver;  A.P.F. Robert-Dumesnil, 1778-1864, (Lugt 2200), sold to Fuller in 1836;  Baron J.G. Verstolk van Soelen, 1776-1845,according to a pencil inscription verso, possibly lot 440 in his sale catalogue of 1847, sold to Evans; old Colnaghi stock

A fine, early impression, with the uneven plate edges mentioned by W & B as indicators of an early impression and the fine polish marks above the head and on the chest. The very slight wear behind the lower back is mentioned by Rovinsky. With substantial margins all round, on a lovely sheet of paper. The palest foxing, otherwise in extremely fresh condition. 116 x 70mm.
Price on request

Robert-Dumesnil’s Rembrandt print collection was considered one of the most exceptional ever formed. The above impression was lot 179 in the Robert-Dumesnil sale of April 12, 1836, at Phillips, London. The full signature was already there: “On the terrace, on the left, is written “Rembrandt f.”, independently of the monogram and date at the bottom.” This early date would perhaps explain the great skill with which it was added, closely resembling an etched signature. Verstolk also had a large and outstanding print collection. He had no stamp, and only rarely marked impressions in pencil.