Rembrandt's achievements in etching were unprecedented in the 17th century and remain unparalleled today. Acknowledgement of his status is reflected in the fact that his etchings are the most catalogued works of art in the world. In 1751, less than a century after his death, Gersaint produced the first catalog raisonné of his prints, followed in 1797 by the renowned master cataloger of prints, Adam Bartsch. Bartsch’s numeration is still commonly used to identify Rembrandt prints, e.g. the abbreviations used in this catalogue, B. 100 signifies Bartsch 100.
Bartsch Numbers
In 1969, Christopher White from the Rijksmuseum in Amsterdam and Karel G. Boon of the British Museum in London published Rembrandt’s Etchings using the Bartsch numbers and this catalog raisonné, which clarifies how many states Rembrandt made of each print, is the primary reference used by Rembrandt scholars today. Because Rembrandt was patient, experimental, and determined to achieve certain effects, he often revised or revived an image of which he had already pointed many impressions, thereby creating a new “state” of the same image. States are written in lower case Roman numerals with the number of total states shown in the denominator and the specific state referenced, in the numerator. For example, B. 272 v/vi refers to the fifth of six states of B. 272 (Clement de Jonghe, Printseller).
States & Impressions
Rembrandt’s working style led him to print multiple states of most of his prints; in those rare cases where he achieved the desired result in the first printing, no state designation is given. It is not known how many impressions Rembrandt himself pulled from any plate. It is known that some subjects were more popular than others and more prints were pulled to fill the demand. “Lifetime” impressions (impressions pulled during Rembrandt’s lifetime, and most likely by Rembrandt himself) of the more popular subjects are, consequently, sometimes obtainable today.
Copper Plates
Certain etched copperplates outperformed others, in part because the lines were less fragile. Also, cold-hammered copper plates are harder than the rolled plates used today making it possible to print large editions. It also enabled the drypoint to give a stronger and more durable burr, so that as many as 50 or more good impressions could be made before a plate began to show wear.
After Rembrandt’s death in 1669, the surviving plates were scattered. Some plates were reprinted and, if needed, remedial treatment was done: in the most skilled hands this involved touching up the weak lines much as Rembrandt himself might have done; in more inept hands plates were overworked or changed from Rembrandt’s original image. Although the expiration of the master’s pristine design was inexorable, such “late” impressions, including many published by the Basans in Paris shortly before and after 1900, are often close enough in quality to lifetime impressions to be aesthetically pleasing to all but the most obstinate purist.
Quality of Impression
What is critical in assessing a Rembrandt print of any century is the quality of the impression and the condition of the paper. The quality is dependent on both how worn the plate was at the time of printing and the actual quality of the printing (inking, wiping, printing) itself. The quality can generally be judged visually but the paper condition (creases, tears, holes, and repairs) should be disclosed since it is not always apparent in a framed print.
Watermarks
Some Rembrandt prints particularly those printed in the 17th century, contain a watermark, a design made of wires and attached to the wire frames on which handmade paper is made. They can be seen when the paper is held up to light. In addition, some prints also have collector’s marks, which are stamps unique to the owner (often initials) placed on the back of the print. When present, these marks identify the provenance of the print. Watermarks and collector’s marks should also be disclosed since they are seldom visible in a framed print.
In the final analysis, every Rembrandt print is unique. Ultimately, Rembrandt’s etchings are treasured as unique jewels of an incomparable master working to the very limit of both his immense creativity and talent and the potentialities of the medium.
--Laura Anderson, Director of Acquisitions
