Self-Portrait, frowning: Bust

Name: REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
Brand: Self-Portrait, frowning: Bust
Price: 42000.00 GBP
Availability: SoldOut

Price Realised GBP 52,920

Estimate

GBP 30,000 - GBP 50,000

Closed: 21 Mar 2025

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REMBRANDT HARMENSZ. VAN RIJN (1606-1669)

Self-Portrait, frowning: Bust

Price Realised GBP 52,920

Closed: 21 Mar 2025

Price Realised GBP 52,920

Closed: 21 Mar 2025

Details Lot Essay Related Articles More from

REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
Self-Portrait, frowning: Bust
etching
1630
on laid paper, without watermark
a fine impression of this early portrait
the rare second state (of three)
printing strongly, with great clarity and contrasts
with a light plate tone and inky plate edges
with narrow margins above and below, thread margins at left and right
in very good condition
Plate 73 x 62 mm.
Sheet 74 x 63 mm.

The Carlyon Family, Tregrehan House, Cornwall; probably acquired by Thomas Carlyon (circa 1755-1830) or William Carlyon (1781-1841); then by descent to Tristram R. G. Carlyon (1877-1957); sold en-bloc with most of the Rembrandt collection to Colnaghi by the executors in 1958.
With P. & D. Colnaghi & Co., London (with their stocknumber R. 463 and C. 39024 in pencil verso).
With Artemis Fine Arts, London & New York.
Private Collection, Switzerland; acquired from the above in 2001; then by descent to the present owners.

Bartsch, Hollstein 10; Hind 30; New Hollstein 68

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Lot Essay

Created by the 24-year-old artist in 1630, this is one of the most attractive of his small, early self-portraits. Slightly larger in size than most of this period, in this plate he has clearly gained in stature and confidence since his first etched depictions of himself. Although as much a study of a particular facial expression as a true self-portrait, there is an element of swagger and arrogance about it. In its aplomb and pose, one shoulder forward and the face turned to confront the viewer, it foreshadows the famous (), that most flamboyant of all his etched self-portraits.
There is something amusing - and certainly endearing - about this portrait of the artist as an angry young man, with his wild hair, tight lips and furrowed brow, staring down the viewer.
This impression of the rare second state comes from the slightly mysterious but outstanding Carlyon Collection, which goes back to the late 18th or early 19th century and had been tucked away in a country house in the far West of England for several generations.