{ "objects" : [ { "embark_ID" : 163039, "URL" : "https://webkiosk.gallerysystems.com/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://webkiosk.gallerysystems.com/Media/images/2007.9.2_BMC_f.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2007.9.2_BMC_f.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/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://webkiosk.gallerysystems.com/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 Between His Parents, Returning from the Temple", "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://webkiosk.gallerysystems.com/Media/images/2007.9.1_BMC_f.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2007.9.1_BMC_f.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/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://webkiosk.gallerysystems.com/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://webkiosk.gallerysystems.com/Media/images/2005.3.148_BMC_f.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.3.148_BMC_f.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/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://webkiosk.gallerysystems.com/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 Praying", "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) ", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "Dutch", "Creation_Place2" : "Netherlands", "Department" : "Fine Arts", "Obj_Name" : "print", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/X.440_BMC_f_2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/X.440_BMC_f_2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/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://webkiosk.gallerysystems.com/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" : "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://webkiosk.gallerysystems.com/Media/images/1984.81_BMC_f_4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.81_BMC_f_4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/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" : "" } , ] }, ] }