Rembrandt van Rijn etching print lifetime impression gravure a vendre - The Angel appearing to the Shepherds, 1634
Rembrandt van Rijn etching print lifetime impression gravure a vendre - The Angel appearing to the Shepherds, 1634 frame
Rembrandt van Rijn etching print lifetime impression gravure a vendre - The Angel appearing to the Shepherds, 1634 framed
Rembrandt van Rijn etching print lifetime impression gravure a vendre - The Angel appearing to the Shepherds, 1634
Rembrandt van Rijn etching print lifetime impression gravure a vendre - The Angel appearing to the Shepherds, 1634 frame
Rembrandt van Rijn etching print lifetime impression gravure a vendre - The Angel appearing to the Shepherds, 1634 framed
Rembrandt Harmensz. van Rijn
(Leiden 1606-1669 Amsterdam)

“The Angel appearing to the Shepherds”, 1634 [Luke 2: 8-14]

Etching, engraving and drypoint; 26,4 x 22,1 cm

Signed and dated lower right: ‘Rembrandt f. 1634’

With a 3-4 mm wide margin around the borederlines.

On laid paper with watermark: with watermark “Seven Provinces” (sub-variant D.a.),

cf. Erik Hinterding, Rembrandt as an etcher. Catalogue of watermarks (words), vol. II, p. 253. (1634).

Notes

Produced at a relatively early period in his career, this would undoubtedly have been Rembrandt’s most spectacular print to date. The scene depicts how the shepherds in Luke 2:8-14 were confronted in the middle of the night by a large winged angel, lit by the glory of God, who came to announce the birth of Christ. Rembrandt’s arresting composition emphasizes the light and hope the messengers brought to a dark and dreary world. Rembrandt is known for his realistic portrayals of humanity; teeming with emotion, action, and humor. This is evident in The Angel Appearing to the Shepherds. Imagine waking up, in the middle of the night, to a thunderous noise, radiant light, and angels bursting from the night sky – it would be terrifying! The scattering crowd and frightened animals below suggest Rembrandt pondered the reality of this situation.

To depict the stunning collision between heaven and earth, Rembrandt first scratched a detailed compositional outline with a sharp needle and etched lines. He then built a range of grays and deep blacks by crisscrossing layers of lines in varying widths. This fine netting of shadow echoes the spontaneity of the moment and differs from the rigidity and systematized decorative patterns seen in the work of predecessors such as Hendrik Goudt.

Rembrandt worked from the dark areas into the light of the foreground. Although he had painted night scenes before, this was his first attempt at duplicating the effects in etching.

Von Seidlitz describes this print as “Rembrandt’s masterpiece from the mid-1930s”. Here, for the first time, he deliberately uses semi-darkness in such a way that he builds the composition on the contrast between light and dark. The etching was created in 1634, the year of his marriage to Saskia van Uylenburgh.

[Luke 2: 8-14] – King James Version 1611

And there were in the same country shepherds abiding in the field, keeping watch over their flock by night.

And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.

10 And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people.

11 For unto you is born this day in the city of David a Saviour, which is Christ the Lord.

12 And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger.

13 And suddenly there was with the angel a multitude of the heavenly host praising God, and saying,

14 Glory to God in the highest, and on earth peace, good will toward men.

Literature

Bartsch 44; White/Boon 44;

The New Hollstein Dutch 125 Third state (of VI);

Nowell-Usticke C 2; plate in existence in the Thrivent Collection of Religious Art in Minneapolis, MN, USA.

 

Provenance

  • Private collection, Germany
  • Karl & Faber, Munich
  • Private collection, The Netherlands
  • Douwes Fine Art, Amsterdam

 

Condition

A very good impression of the Third state. With the reworking in the tree in the centre of the picture and the reworking in the angel’s robe, in the back of the cow fleeing to the right and in the back of the sheep.

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