{ "objects" : [ { "embark_ID" : 166048, "URL" : "https://triarte.brynmawr.edu/Objects-1/info/166048", "Disp_Access_No" : "X.319", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1652", "_Disp_Start_Dat" : "1647", "_Disp_End_Date" : "1657", "Disp_Title" : "Peasant Family on the Tramp", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt van Rijn", "Sort_Artist" : "Rembrandt van Rijn", "Disp_Dimen" : "4 1/2 in. x 3 5/8 in. (11.43 cm x 9.21 cm)", "Disp_Height" : "4 1/2 in.", "Disp_Width" : "3 5/8 in.", "Dimen_Extent" : "Plate", "Medium" : "Etching on wove paper", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "This print is an etching on wove paper. It is an 18th-century restrike of a ca.1652 original plate. The image is of a man with his family – he walks towards the right with the aid of a walking stick. His clothing is loose and indicates his low status. He holds the hand of a small child, and behind them walks a woman with a baby on her back. Her figure is cut off by the edge of the plate. The child, woman and baby are less articulated than the figure of the man. To the right of the man’s walking stick are some faint lines which are trace marks from a previous etching of an old man’s head. This print is a very close match with the original states from Rembrandt’s lifetime, although the lines are somewhat fainter. However, the printing on wove paper indicates that this etching must have been printed many years after Rembrandt’s death. The earliest it could have been printed is the 1750s, when wove paper first emerged. This means that this print is probably a restrike from Rembrandt’s original plate. It is known that Claude Henri Watelet (1718-1786) and Pierre Francois Basan (1723-1797) printed versions of this print, so it may be possible that Bryn Mawr’s version was printed by one of these two men. (Angelique Wille, 4/26/2011) ", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "Dutch", "Creation_Place2" : "Netherlands", "Department" : "Fine Arts", "Obj_Name" : "print", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://triarte.brynmawr.edu/Media/images/X.319_BMC_f_2.jpg", "ThumbnailPath" : "https://triarte.brynmawr.edu/Media/Thumbnails/X.319_BMC_f_2.jpg", "PreviewPath" : "https://triarte.brynmawr.edu/Media/Previews/X.319_BMC_f_2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/X.319_BMC_f_2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31983", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://triarte.brynmawr.edu/Media/images/X.319_Hertel Research.pdf", "ThumbnailPath" : "https://triarte.brynmawr.edu/Media/Thumbnails/X.319_Hertel Research.pdf", "PreviewPath" : "https://triarte.brynmawr.edu/Media/Previews/X.319_Hertel Research.pdf", "IIIF_URL": "http://iiif.gallerysystems.com/X.319_Hertel Research.pdf", "IsPrimary" : "0", "_SurrogateID" : "208624", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 166046, "URL" : "https://triarte.brynmawr.edu/Objects-1/info/166046", "Disp_Access_No" : "X.317", "_AccNumSort1" : "", "Disp_Create_DT" : "1646", "_Disp_Start_Dat" : "1646", "_Disp_End_Date" : "1646", "Disp_Title" : "Beggar Woman Leaning on a Stick", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt van Rijn", "Sort_Artist" : "Rembrandt van Rijn", "Disp_Dimen" : "3 1/4 in. x 2 1/2 in. (8.26 cm x 6.35 cm)", "Disp_Height" : "3 1/4 in.", "Disp_Width" : "2 1/2 in.", "Dimen_Extent" : "Plate", "Medium" : "Etching on laid paper", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "New Hollstein 229, III. Not by Rembrandt. (C. Robbins, 10/22/2021) Like this entry, our print features the plus sign in lower right corner and two dots in upper right. Ours is a much fainter impression than illustrated in NH. This is an etching on laid paper of a beggar woman leaning on a walking stick. It is signed and dated “Rembrandt f. 1646.” The impression is faint, which may mean that it is a later state. Scholars have debated how many states exist for this print. Some believe it to have only one state while others have recognized as many as six. Bryn Mawr’s version is possibly a third state. (Angelique Wille, 4/27/2011) ", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "Dutch", "Creation_Place2" : "Netherlands", "Department" : "Fine Arts", "Obj_Name" : "print", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://triarte.brynmawr.edu/Media/images/X.317_BMC_f_2.jpg", "ThumbnailPath" : "https://triarte.brynmawr.edu/Media/Thumbnails/X.317_BMC_f_2.jpg", "PreviewPath" : "https://triarte.brynmawr.edu/Media/Previews/X.317_BMC_f_2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/X.317_BMC_f_2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31981", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 166039, "URL" : "https://triarte.brynmawr.edu/Objects-1/info/166039", "Disp_Access_No" : "X.306", "_AccNumSort1" : "", "Disp_Create_DT" : "1650", "_Disp_Start_Dat" : "1650", "_Disp_End_Date" : "1650", "Disp_Title" : "Landscape with a Square Tower", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt van Rijn", "Sort_Artist" : "Rembrandt van Rijn", "Disp_Dimen" : "3 3/4 in. x 6 1/4 in. (9.53 cm x 15.88 cm)", "Disp_Height" : "3 3/4 in.", "Disp_Width" : "6 1/4 in.", "Dimen_Extent" : "Plate", "Medium" : "Etching with drypoint on laid paper", "Support" : "", "Disp_Medium" : "Etching with drypoint", "Info_Page_Comm" : "Evidence for second state listed below is also true for third state with slipped stroke. New Hollstein 250/III, with slipped stroke. (C. Robbins, 10/22/21) Notice lack of scratches in sky at upper right; looks as if burnished from plate like slipped stroke in signature may have been. This print is a second state etching with drypoint on laid paper. It is a landscape scene dominated by a square tower and dated “Rembrandt f. 1650.” The use of drypoint is particularly clear in the bush in the foreground and the plate mark is strong. The second state of this print includes vertical lines in the sky over the tower caused by scratches in the plate. These are visible in Bryn Mawr’s print, helping to establish it as a second state. Furthermore, in the second state the right side of the tower was extended down and covered a bush with vertical lines. The tower in this scene has been identified as a town-house tower in Amsterdam. In Etchings by Rembrandt, Reflections of the Golden Age, Th. Laurentius writes that in 1649 Rembrandt accompanied his common-law partner Hendrickje Stoffels to visit her parents in Bredevoort, near the German border. This print, which dates to the year afterwards, includes a hilly background. While the houses and farms of the foreground are typical of those which would be found near Amsterdam, Laurentius believes the hills were inspired by Rembrandt’s travels. The verso is marked by a collector’s stamp – a cube containing the initial “B” in black ink. It is a collector’s stamp for G.A. Block (Gordon A. Block Jr., born 1914). He was an insurance broker in Philadelphia with a collection of prints and drawings that notably included work by Dürer, Rembrandt and Rockwell Kent. This print was included in the following exhibitions: "Rembrandt etchings" organized by the Suzanne H. Arnold Art Gallery, Lebanon Valley College. Suzanne H. Arnold Art Gallery, Lebanon Valley College, March 1-April 14, 2002 Philip and Muriel Berman Museum of Art, Ursinus College, April 30-July 14, 2002 Martin Art Gallery, Muhlenberg College, August 9-October 11, 2002 Phillips Museum of Art, Franklin & Marshall College, October 24-December 8, 2002 (Angelique Wille, 4/27/2011) ", "Dedication" : "Gift of Caroline Newton, Class of 1914", "Copyright_Type" : "", "Disp_Obj_Type" : "Dutch", "Creation_Place2" : "Netherlands", "Department" : "Fine Arts", "Obj_Name" : "print", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://triarte.brynmawr.edu/Media/images/X.306_BMC_f_2.jpg", "ThumbnailPath" : "https://triarte.brynmawr.edu/Media/Thumbnails/X.306_BMC_f_2.jpg", "PreviewPath" : "https://triarte.brynmawr.edu/Media/Previews/X.306_BMC_f_2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/X.306_BMC_f_2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31980", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 166038, "URL" : "https://triarte.brynmawr.edu/Objects-1/info/166038", "Disp_Access_No" : "X.305", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1645", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1650", "Disp_Title" : "Cottage Beside a Canal ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt van Rijn", "Sort_Artist" : "Rembrandt van Rijn", "Disp_Dimen" : "5 1/2 in. x 8 1/8 in. (13.97 cm x 20.64 cm)", "Disp_Height" : "5 1/2 in.", "Disp_Width" : "8 1/8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Etching with drypoint", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Rembrandt is famous for his etchings, a type of intaglio print that allows for more spontaneous designs and expressive, fluid lines than engraving. In his landscape etchings, Rembrandt captured the humble villages and nostalgic ruins that he encountered on his frequent walks through the lowlands. In this print, he arranges the cottage diagonally against the sweeping and expansive sky, thus swiftly pulling the viewer’s eye into the composition. Between the cottage and canal, a winding road meanders towards the low horizon laced with the hazy outlines of a nearby town. Rembrandt treats the landscape with great subtlety and maturity, capturing the essence of everyday Dutch life. This is an etching with drypoint and is a first and only state. It is unsigned and undated. The margins are trimmed closely, in keeping with Rembrandt’s frugal use of paper. In this print, Rembrandt depicts a landscape view and arranges a cottage diagonally against the sweeping and expansive sky, thus swiftly pulling the viewer’s eye into the composition. Between the cottage and canal, a winding road meanders towards the low horizon laced with the hazy outlines of a nearby town. G.W. Nowell-Eusticke describes it as a scarce print, and possibly an image of a snow scene. Gary Schwartz speculates that it may depict a view of the Ouderkerk aan de Amstel. This etching was featured in the 2010-2011 'Worlds to Discover: 125 Years of Collections at Bryn Mawr College' exhibition as well as the following exhibitions: "Rembrandt etchings" organized by the Suzanne H. Arnold Art Gallery, Lebanon Valley College. Suzanne H. Arnold Art Gallery, Lebanon Valley College, March 1-April 14, 2002 Philip and Muriel Berman Museum of Art, Ursinus College, April 30-July 14, 2002 Martin Art Gallery, Muhlenberg College, August 9-October 11, 2002 Phillips Museum of Art, Franklin & Marshall College, October 24-December 8, 2002 (Angelique Wille, 4/27/2011) ", "Dedication" : "Gift of Caroline Newton, Class of 1914", "Copyright_Type" : "", "Disp_Obj_Type" : "Dutch", "Creation_Place2" : "Netherlands", "Department" : "Fine Arts", "Obj_Name" : "print", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://triarte.brynmawr.edu/Media/images/X.305_BMC_f_2.jpg", "ThumbnailPath" : "https://triarte.brynmawr.edu/Media/Thumbnails/X.305_BMC_f_2.jpg", "PreviewPath" : "https://triarte.brynmawr.edu/Media/Previews/X.305_BMC_f_2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/X.305_BMC_f_2.jpg", "IsPrimary" : "1", "_SurrogateID" : "94382", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 166037, "URL" : "https://triarte.brynmawr.edu/Objects-1/info/166037", "Disp_Access_No" : "X.301", "_AccNumSort1" : "", "Disp_Create_DT" : "1648", "_Disp_Start_Dat" : "1648", "_Disp_End_Date" : "1648", "Disp_Title" : "Self-Portrait Drawing at Window", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt van Rijn", "Sort_Artist" : "Rembrandt van Rijn", "Disp_Dimen" : "7 in. x 5 in. (17.78 cm x 12.7 cm)", "Disp_Height" : "7 in.", "Disp_Width" : "5 in.", "Dimen_Extent" : "Plate", "Medium" : "Etching with drypoint and burin", "Support" : "", "Disp_Medium" : "Etching with drypoint and burin", "Info_Page_Comm" : "Rembrandt commanded the field of etching in the seventeenth century, and his range of visual effects, from linearity to complex tonalities, has never been matched. This etching is one of his most famous self-portrait prints, an intimate late-career work that shows the artist in an introspective state, immersed in his drawing and illuminated by the light of a window. Dressed in modest studio attire, he depicts himself without pretence. The dense network of etched lines yields a mass of shadows that blanket the room, in contrast to the soft veil of sunlight illuminating the artist at work. This penetrating and stunning portrait captures the artist’s thoughtful persona, not simply his likeness. This print is an etching with drypoint and is the fourth of five states. It is a self-portrait of the artist drawing or etching by a window, and is one of Rembrandt’s most recognizable prints. It is signed and dated 1648 in a scroll at the top portion of the window, although this signature is partially obscured by shading which was added in the fourth state. Rembrandt’s signature was not added until the second state, and the landscape outside the window was not added until the fourth, which aids in identifying Bryn Mawr’s print as a fourth state. This print is Rembrandt’s final etched self-portrait, after a gap of six years. In it he departs from the courtly poses of his earlier self-portraits and depicts himself unpretentiously as an artist at work. He is dressed in ordinary working clothes rather than the elaborate costumes of his earlier self-portraits. His gaze meets the viewer’s directly, but in actuality he is gazing at his reflection in a mirror in order to draw or etch his self-portrait. The provenance of Bryn Mawr’s print includes the collections of Charles H. Ellingwood (b. 1867) a financier from New York, A.G. Theirmann (d. 1860) in Berlin, and the Kupferstichkabinett der Staatlichen Museen, Berlin. It was a gift from Howard L. Gray, Professor of History. It was used for the brochure and poster illustration for the 1985 Mary Flexner Lectures at Bryn Mawr, Rembrandt: A Series of Four Lectures by the renowned Rembrandt scholar Svetlana Alpers, which ran from March 29-April 8, 1985. It was also included in the following exhibitions: "Rembrandt etchings" organized by the Suzanne H. Arnold Art Gallery, Lebanon Valley College. Suzanne H. Arnold Art Gallery, Lebanon Valley College, March 1-April 14, 2002 Philip and Muriel Berman Museum of Art, Ursinus College, April 30-July 14, 2002 Martin Art Gallery, Muhlenberg College, August 9-October 11, 2002 Phillips Museum of Art, Franklin & Marshall College, October 24-December 8, 2002 'Worlds to Discover: 125 Years of Collections at Bryn Mawr College' exhibition, 2010-2011. (Angelique Wille, 4/27/2011) ", "Dedication" : "Gift of Howard L. Gray, Professor of History, 1915-1940", "Copyright_Type" : "", "Disp_Obj_Type" : "Dutch", "Creation_Place2" : "Netherlands", "Department" : "Fine Arts", "Obj_Name" : "print", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://triarte.brynmawr.edu/Media/images/X.301_BMC_f_2.jpg", "ThumbnailPath" : "https://triarte.brynmawr.edu/Media/Thumbnails/X.301_BMC_f_2.jpg", "PreviewPath" : "https://triarte.brynmawr.edu/Media/Previews/X.301_BMC_f_2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/X.301_BMC_f_2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31979", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 163039, "URL" : "https://triarte.brynmawr.edu/Objects-1/info/163039", "Disp_Access_No" : "2007.9.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1641", "_Disp_Start_Dat" : "1641", "_Disp_End_Date" : "1641", "Disp_Title" : "Virgin and Child in the Clouds", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt van Rijn", "Sort_Artist" : "Rembrandt van Rijn", "Disp_Dimen" : "6 5/8 in. x 4 3/16 in. (16.8 cm x 10.6 cm)", "Disp_Height" : "6 5/8 in.", "Disp_Width" : "4 3/16 in.", "Dimen_Extent" : "Plate", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Virgin Mary seated and holding Christ child in her lap surrounded by clouds, light ring surrounding her head with rays of light coming from Christ; Mary looks upwards This print is an image of the Virgin and Christ child in clouds. It is signed and dated “Rembrandt 1641,” but the signature is somewhat obscure because it is covered by the crosshatching in the cloud underneath the Virgin. A head can be seen upside-down by the Virgin’s left knee, probably from an earlier etching on the same plate. Gary Schwartz writes that it is possible that this upside-down face could be the reflection of the Virgin’s face in the clouds, or a first version of the Virgin’s face, after which the artist turned the plate to make another attempt. G.W. Nowell-Eusticke describes it as a “rather uncommon print.” In the catalogue for Rembrandt: the Printmaker, the authors speculate that Rembrandt may have received inspiration for this print from several sources. These include Dürer’s Madonna on the Crescent Moon from the title-page of his Life of the Virgin (Bryn Mawr’s Special Collections has a copy of this book). Another potential source of inspiration is Federico Barocci’s Madonna and Child -- they are almost the same size and the positioning of the Virgin is very similar (although reversed). It is possible that Rembrandt owned an impression of Barocci’s print. The provenance of Bryn Mawr’s print includes the collection of A. Gerstaecker and Sessler’s Book Shop, Philadelphia. The print is signed in pencil on the verso by Gerstaecker. It was a gift to Bryn Mawr College from Eleanor May Morris. It was purchased by Mr. Samuel W. Morris from Mrs. Mabel Zahn at Sessler’s Book Shop in Philadelphia at some point in the 1950s. Mr. Morris bought his wife a Rembrandt print annually during this time. The Morrises displayed these prints in their home library. This print was one of several given by Mrs. Morris in honor of Carol Biba, Head of Bryn Mawr College’s Public Relations from 1950-1972. (Angelique Wille, 4/25/2011) ", "Dedication" : "Gift of Eleanor May Morris, Class of 1941, MA 1970, in honor of Carol Biba, Head of Public Relations, Bryn Mawr College, 1950-1972", "Copyright_Type" : "", "Disp_Obj_Type" : "Dutch", "Creation_Place2" : "Netherlands", "Department" : "Fine Arts", "Obj_Name" : "print", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://triarte.brynmawr.edu/Media/images/2007.9.2_BMC_f.jpg", "ThumbnailPath" : "https://triarte.brynmawr.edu/Media/Thumbnails/2007.9.2_BMC_f.jpg", "PreviewPath" : "https://triarte.brynmawr.edu/Media/Previews/2007.9.2_BMC_f.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2007.9.2_BMC_f.jpg", "IsPrimary" : "1", "_SurrogateID" : "9945", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 163005, "URL" : "https://triarte.brynmawr.edu/Objects-1/info/163005", "Disp_Access_No" : "2007.9.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1654", "_Disp_Start_Dat" : "1654", "_Disp_End_Date" : "1654", "Disp_Title" : "Christ Returning from the Temple with His Parents", "Alt_Title" : "Christ returning from the Temple with his Parents", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt van Rijn", "Sort_Artist" : "Rembrandt van Rijn", "Disp_Dimen" : "3 11/16 in. x 5 11/16 in. (9.4 cm x 14.4 cm)", "Disp_Height" : "3 11/16 in.", "Disp_Width" : "5 11/16 in.", "Dimen_Extent" : "Plate", "Medium" : "Etching with drypoint", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Christ as child walking between his parents, holding hands, through landscape, mountains in background; Christ looking upwards This print is an illustration of Luke 2: 41-52, and shows Christ as a boy walking with his parents. This image has a considerable burr from the use of drypoint and clearly shows vertical wiping scratches in the sky at the upper right. It has narrow margins, in keeping with Rembrandt’s frugal use of paper. There is small dot of brown on the Virgin’s cheek and another in the margin. A white spot, possibly gouache, appears to the right of the dog. This print dates to 1654, which was the year that Rembrandt’s common-law wife Hendrickje was brought before the church council and condemned for “fornication.” That same year she gave birth to their daughter Cornelia. In this year Rembrandt printed several prints – perhaps to augment his salary during a time when his family was expanding but his financial situation was troubled. During this time his focus in both prints and paintings were frequently biblical subjects. In “Remarks on Rembrandt’s oil-sketches for etchings” by Ernst van de Wetering, this print is included in a series of etchings of scenes from the childhood of Christ. These etchings all date to 1654 and include The adoration of the shepherds, The circumcision, The flight into Egypt, Virgin and Child, Christ disputing with the doctors. This series has been largely ignored by scholarship. The prints have almost never been treated as a series. It is a gift of Eleanor May Morris, class of 1941, MA. 1970. The print was purchased by Mr. Samuel W. Morris from Mrs. Mabel Zahn at Sessler’s Book Shop in Philadelphia at some point in the 1950s. Mr. Morris bought his wife, Eleanor May Morris, a Rembrandt print annually during this time. The Morrises’ displayed these prints in their home library. This print was one of several given by Mrs. Morris in honor of Carol Biba, Head of Bryn Mawr College’s Public Relations from 1950-1972. (Angelique Wille, 4/25/2011) ", "Dedication" : "Gift of Eleanor May Morris, Class of 1941, MA 1970, in honor of Carol Biba, Head of Public Relations, Bryn Mawr College, 1950-1972", "Copyright_Type" : "", "Disp_Obj_Type" : "Dutch", "Creation_Place2" : "Netherlands", "Department" : "Fine Arts", "Obj_Name" : "print", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://triarte.brynmawr.edu/Media/images/2007.9.1_BMC_f.jpg", "ThumbnailPath" : "https://triarte.brynmawr.edu/Media/Thumbnails/2007.9.1_BMC_f.jpg", "PreviewPath" : "https://triarte.brynmawr.edu/Media/Previews/2007.9.1_BMC_f.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2007.9.1_BMC_f.jpg", "IsPrimary" : "1", "_SurrogateID" : "9944", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 162559, "URL" : "https://triarte.brynmawr.edu/Objects-1/info/162559", "Disp_Access_No" : "2005.3.148", "_AccNumSort1" : "", "Disp_Create_DT" : "1633", "_Disp_Start_Dat" : "1633", "_Disp_End_Date" : "1633", "Disp_Title" : "The Descent From the Cross: Second Plate", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt van Rijn", "Sort_Artist" : "Rembrandt van Rijn", "Disp_Dimen" : "20 1/4 in. x 15 3/4 in. (51.44 cm x 40.01 cm)", "Disp_Height" : "20 1/4 in.", "Disp_Width" : "15 3/4 in.", "Dimen_Extent" : "Composition", "Medium" : "Etching on laid paper", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "This print is an etching on laid paper of a scene of the descent from the cross. A former Bryn Mawr curator attributed this print as from the original plate by Rembrandt but heavily reworked by Claude Henri Watelet (ca. 1786) and published by Pierre Francois Basan. Further examination has determined this not to be the case. This print is actually a copy of Rembrandt’s original of 1633 by an unknown artist. It is clear that our print is a copy when it is compared to the original reproduced in Gary Schwartz’s catalogue of Rembrandt etchings (Gary Schwartz, “Rembrandt: All the etchings reproduced in true size,” London: Oresko Books Ltd., 1977). The faces of the figures are very different and the measurements of some elements of the composition vary slightly between the original and the copy (e.g. the cane of the turbaned man). The differences are especially apparent in the face of the robed figure in the shadows between Christ’s body and the turbaned man, and in the face of the woman kneeling in the right corner (the shape of her nose and the slope of her chin are notably different in Bryn Mawr’s copy.) The original print of which this is a copy was based on a painting by Rembrandt for Frederick Henry, Prince of Orange, dating to 1632-33. This painting is now in the Alte Pinakothek in Munich. Some scholars have noted the resemblance between the figure holding Christ’s body via his arm and known self-portraits of the artist. Early in his career, during the 1630s when he was beginning to establish his printing technique, Rembrandt employed the printmaker Jan van Vliet to design plates under his supervision, some of which were based on existing Rembrandt paintings. Many scholars believe that the print on which our copy is based was one of Van Vliet’s designs. A signature appears in the plate, “Rembrandt f.cum pryvl: 1633.” It is part of the Harrington-Bishop Collection, received in 1962. (Angelique Wille, 4/25/2011) ", "Dedication" : "Gift of Richard E. Bishop in memory of Mary E. Harrington", "Copyright_Type" : "", "Disp_Obj_Type" : "Dutch", "Creation_Place2" : "Netherlands", "Department" : "Fine Arts", "Obj_Name" : "print", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://triarte.brynmawr.edu/Media/images/2005.3.148_BMC_f.jpg", "ThumbnailPath" : "https://triarte.brynmawr.edu/Media/Thumbnails/2005.3.148_BMC_f.jpg", "PreviewPath" : "https://triarte.brynmawr.edu/Media/Previews/2005.3.148_BMC_f.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.3.148_BMC_f.jpg", "IsPrimary" : "1", "_SurrogateID" : "70029", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 166185, "URL" : "https://triarte.brynmawr.edu/Objects-1/info/166185", "Disp_Access_No" : "X.440", "_AccNumSort1" : "", "Disp_Create_DT" : "1652", "_Disp_Start_Dat" : "1652", "_Disp_End_Date" : "1652", "Disp_Title" : "David in Prayer", "Alt_Title" : "David in Prayer", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt van Rijn", "Sort_Artist" : "Rembrandt van Rijn", "Disp_Dimen" : "5 15/16 in. x 4 15/16 in. (15.08 cm x 12.54 cm)", "Disp_Height" : "5 15/16 in.", "Disp_Width" : "4 15/16 in.", "Dimen_Extent" : "Plate", "Medium" : "Etching on laid paper", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "This print is an etching in its third state depicting King David in prayer kneeling by a bed. His bed hangings cast deep shadows in the space and on his face and a harp rests on its side in the foreground. This print is on laid paper with trimmed margins, in keeping with Rembrandt’s frugal use of paper. It is signed and dated “Rembrandt f. 1652”at the bottom of the plate, although the signature is somewhat obscured by the shading underneath the harp. The third state of this print has a slipped stroke across David’s back which is a nearly horizontal mark, slightly thinner than the lines around it. This mark is visible in Bryn Mawr’s print, confirming that this is a third state print. On the verso of the print is a collector’s stamp “MJM” in blue ink. This is a collector’s stamp of Mary Jane Morgan, whose art collection included 109 pieces by Rembrandt. She was the wealthy widow of shipping tycoon Charles Morgan. Mary Jane Morgan died in 1885 and her collection was auctioned in 1886. A catalogue of the auction lists several Rembrandt prints including “David Praying” with the number 2033 and B. 41. This is probably the print in Bryn Mawr’s collection. This print was exhibited at Haverford College Cantor-Fitzgerald Gallery “Spirituality in Art.” September 20 – November 3, 2002. (Angelique Wille, 4/27/2011) New Hollstein, Cat. 268, II, with scratch (posthumous). (J. Kruse, Robbins, 10/1/2021)", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "Dutch", "Creation_Place2" : "Netherlands", "Department" : "Fine Arts", "Obj_Name" : "print", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://triarte.brynmawr.edu/Media/images/X.440_BMC_f_2.jpg", "ThumbnailPath" : "https://triarte.brynmawr.edu/Media/Thumbnails/X.440_BMC_f_2.jpg", "PreviewPath" : "https://triarte.brynmawr.edu/Media/Previews/X.440_BMC_f_2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/X.440_BMC_f_2.jpg", "IsPrimary" : "1", "_SurrogateID" : "32000", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 167678, "URL" : "https://triarte.brynmawr.edu/Objects-1/info/167678", "Disp_Access_No" : "1984.81", "_AccNumSort1" : "", "Disp_Create_DT" : "1639", "_Disp_Start_Dat" : "1639", "_Disp_End_Date" : "1639", "Disp_Title" : "The Death of the Virgin", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt van Rijn", "Sort_Artist" : "Rembrandt van Rijn", "Disp_Dimen" : "16 in. x 12 5/16 in. (40.64 cm x 31.27 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "12 5/16 in.", "Dimen_Extent" : "Sheet", "Medium" : "Etching with drypoint on laid paper", "Support" : "", "Disp_Medium" : "Etching on laid paper", "Info_Page_Comm" : "NH 173, state 2 (Robbins, 1/27/22) This print is an etching on laid paper of a scene of the death of the Virgin Mary. It is signed and dated 1639. It is a second state of three. Drypoint was used and can be seen on the back of the seated figure in the foreground and the back of the chair at the lower right. A collector’s stamp, which could not be identified, appears on the verso. The shading in the chair’s arm was not included in the first state of this print, and helps identify this print as a second state. The plate for this print was one of the earliest in which Rembrandt used drypoint extensively. Rembrandt’s wife Saskia had a difficult childbirth the year before this print was made and was often confined to her sick bed at this time. Rembrandt made studies of Saskia ill in bed during these years, and they may have influenced his portrayal of the dying Virgin. Saskia died in 1642. The composition is partly inspired by a woodcut by Durer, but the inclusion of a physician, who checks the pulse of the Virgin, was uniquely Rembrandt’s idea. He also departed from tradition by depicting Mary as sick and elderly rather than young and peaceful. Rembrandt owned an impression of Durer’s print which was part of his popular series of The Life of the Virgin. This image may also be influenced by a stained-glass window after a design by Dirck Pietersz. Crabeth which Rembrandt could have seen in the Oude Kerk in Amsterdam. This print was the gift of Mr. and Mrs. Richard C. Bull of Villanova, PA on March 16, 1984. Josephine Rothermel Bull graduated from Bryn Mawr in 1934. It was included in the exhibition “Twenty-Years A-Growing: An Exhibition Celebrating the Marian Coffin Canaday Library 1969-1989,” which opened October 18, 1989 at Bryn Mawr College. (Angelique Wille, 4/25/2011) ", "Dedication" : "Gift of Richard C. Bull and Josephine Rothermell Bull, Class of 1934", "Copyright_Type" : "", "Disp_Obj_Type" : "Dutch", "Creation_Place2" : "Netherlands", "Department" : "Fine Arts", "Obj_Name" : "print", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://triarte.brynmawr.edu/Media/images/1984.81_BMC_f_4.jpg", "ThumbnailPath" : "https://triarte.brynmawr.edu/Media/Thumbnails/1984.81_BMC_f_4.jpg", "PreviewPath" : "https://triarte.brynmawr.edu/Media/Previews/1984.81_BMC_f_4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/1984.81_BMC_f_4.jpg", "IsPrimary" : "1", "_SurrogateID" : "40695", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }