Prints by REMBRANDT
The market for Rembrandt prints is dominated by exceptional impressions from prestigious collections, such as the Sam Josefowitz Collection sold at Christie's.
Prices have varied significantly over time due to condition, state of the plate, provenance, and market conditions. The current world record for any Rembrandt print (and Old Master print) is from December 2025. Earlier records (e.g., for "The Three Crosses" or "Ecce Homo") were surpassed in recent Josefowitz sales.
Key Auction Attributes and Context
Prices have varied significantly over time due to condition, state of the plate, provenance, and market conditions. The current world record for any Rembrandt print (and Old Master print) is from December 2025. Earlier records (e.g., for "The Three Crosses" or "Ecce Homo") were surpassed in recent Josefowitz sales.
Key Auction Attributes and Context
- Dominant Auction Houses: Christie's (especially London) has dominated recent high-end Rembrandt print sales through single-collection dispersals like the Sam Josefowitz series (Parts I–III in 2023–2025), which achieved exceptional sell-through rates (98–99%) and multiple subject records. Sotheby's has also seen strong results, particularly for "The Hundred Guilder Print" and "The Shell."
- Factors Driving Prices: Rarity of impressions (e.g., lifetime states, brilliant condition, early proofs), provenance (e.g., Josefowitz or historic collections), subject matter (portraits, biblical scenes, and unique subjects like "The Shell" command premiums), and technique (drypoint burr adds value for atmospheric effects). The 2025 Josefowitz Part III sale totaled over £8.6 million with 69% of lots exceeding high estimates.
- Market Trends: Prices for top impressions have risen sharply in the 2020s, with the 2025 record far exceeding prior benchmarks (e.g., older records around $990,000 for "The Three Crosses" in 1990 or lower six-figure results for many etchings). Lesser impressions or later states typically realize $10,000–$100,000+.
Special Report
Evolution before the breakthrough of the Three Crosses
Rembrandt van Rijn (1606–1669) began etching around 1625–1626, shortly after establishing himself as an independent artist in Leiden. His printmaking career paralleled his painting, but prints allowed greater experimentation, intimacy, and accessibility. Before the dramatic breakthrough of Christ Crucified between the Two Thieves (known as The Three Crosses, 1653), his etchings evolved through distinct phases marked by technical refinement, shifts in scale and subject matter, and increasing mastery of light, atmosphere, and emotional depth. Early Period (Leiden, c. 1625–1631): Small-Scale Experiments and Expressive Studies
Rembrandt's earliest etchings were modest in size—often tiny, almost "postage stamp" scale—and focused heavily on self-portraits and character studies. These works served as explorations of facial expressions, emotions, and etching techniques rather than finished commercial pieces. He produced around ten small head-and-bust self-portraits, transforming his own features to convey surprise, anger, laughter, or introspection.
Amsterdam Transition and Mature Baroque Phase (c. 1632–1640): Larger, More Ambitious Compositions
After moving to Amsterdam around 1631–1632 (and settling there by 1634), Rembrandt's prints grew in scale, ambition, and technical polish. He initially produced more "finished" works that echoed his paintings, sometimes serving reproductive or promotional purposes, before shifting toward more personal, sketchy explorations.
1640s: Intimacy, Classicism, and Peak Technical Achievement (Precursor to the Breakthrough)
The 1640s marked a pivotal evolution toward greater intimacy, psychological depth, and technical innovation. Rembrandt abandoned some of the exuberant Baroque drama of the 1630s for a more restrained, classical approach—emphasizing structure, lighting effects, and poetic atmosphere. This period coincided with personal challenges (including the death of his wife Saskia in 1642), though scholars debate direct biographical links.
In summary, Rembrandt's prints before 1653 progressed from small, experimental self-studies in Leiden to ambitious, polished biblical tableaux in early Amsterdam, then to intimate, technically innovative works in the 1640s that emphasized light, atmosphere, and human emotion. This steady evolution—marked by growing use of drypoint, freer handling, and deeper psychological insight—set the stage for the monumental experimentation and expressive power seen in The Three Crosses and his later 1650s masterpieces. His willingness to treat plates as dynamic, revisable surfaces (creating multiple states) remained a constant thread throughout.
Rembrandt's earliest etchings were modest in size—often tiny, almost "postage stamp" scale—and focused heavily on self-portraits and character studies. These works served as explorations of facial expressions, emotions, and etching techniques rather than finished commercial pieces. He produced around ten small head-and-bust self-portraits, transforming his own features to convey surprise, anger, laughter, or introspection.
- Key characteristics: Precise, meticulous lines; focus on textures and subtle modeling; influence from contemporaries like Jacques Callot (beggars and figure studies) and Dutch landscape etchers.
- Notable examples:
- Self-portrait etchings from 1628–1630, including Self-Portrait in a Cap, with Eyes Wide Open (1630).
- Early biblical or genre scenes, such as studies of his mother or old women.
- Technique: Primarily pure etching with fine lines; limited drypoint at this stage. Plates were often experimental, with Rembrandt treating them somewhat like sketchbooks.
Amsterdam Transition and Mature Baroque Phase (c. 1632–1640): Larger, More Ambitious Compositions
After moving to Amsterdam around 1631–1632 (and settling there by 1634), Rembrandt's prints grew in scale, ambition, and technical polish. He initially produced more "finished" works that echoed his paintings, sometimes serving reproductive or promotional purposes, before shifting toward more personal, sketchy explorations.
- Stylistic shifts: Greater emphasis on dramatic lighting (chiaroscuro), crowded tableaux, humanistic biblical narratives, and elaborate costumes or settings. Self-portraits became more theatrical and courtly.
- Technical developments: Increased use of burin for strengthening lines; more complex compositions with multiple figures; exploration of varied wiping and paper types.
- Key milestones and prints:
- The Good Samaritan (1633): A larger, highly finished etching linked to his painted compositions.
- Christ before Pilate (1636): A dramatic, densely populated biblical scene showcasing his growing mastery of group dynamics.
- The Great Jewish Bride (1635): His largest female portrait etching at the time.
- The Death of the Virgin (1639): A major multi-figure biblical scene with varied states and watermarks indicating ongoing experimentation.
- Self-portraits, culminating in Self-Portrait Leaning on a Stone Sill (1639), emulating Renaissance masters like Raphael in luxurious dress and pose.
1640s: Intimacy, Classicism, and Peak Technical Achievement (Precursor to the Breakthrough)
The 1640s marked a pivotal evolution toward greater intimacy, psychological depth, and technical innovation. Rembrandt abandoned some of the exuberant Baroque drama of the 1630s for a more restrained, classical approach—emphasizing structure, lighting effects, and poetic atmosphere. This period coincided with personal challenges (including the death of his wife Saskia in 1642), though scholars debate direct biographical links.
- Stylistic and thematic expansion: More intimate religious scenes, everyday life observations, and the introduction of pure landscape etchings. He treated plates more freely, like drawings, with half-finished or unrelated studies on single sheets.
- Major technical breakthrough: Increased and masterful integration of drypoint (scratching directly into the plate for velvety, rich burr effects that create painterly tones). This added atmospheric depth and tonal range not easily achieved with etching alone. He also experimented with plate tone (leaving ink on the surface for moody effects) and diverse papers, including Japanese imports later on.
- Landmark prints:
- The Three Trees (1643): His largest and most elaborate landscape etching, combining etching, drypoint, burin, and even sulphur tinting to evoke dramatic Dutch weather and chiaroscuro effects.
- The Hundred Guilder Print (Christ Preaching/Healing the Sick, c. 1647–1649): Often cited as the apogee of his 1640s work. This large, complex biblical composition (blending multiple Gospel scenes) took about a decade to refine. It demonstrated extraordinary lighting range, narrative integration, and technical virtuosity—earning its nickname from high contemporary prices. Many consider it a direct precursor to the ambition of The Three Crosses. In competition with the new mezzotint technique, Rembrandt is skilled in obtaining half tones by varying the inking. Contrasts in the sharpness of the lines create an atmosphere by highlighting some areas of the image. An example was sold for £ 700K by Christie's on December 3, 2025, lot 45.
- Other highlights: Jan Six (1647, portrait with drypoint), various beggar and genre studies, and additional landscapes like The Windmill (1641) or Six's Bridge (c. 1645, more spontaneous).
In summary, Rembrandt's prints before 1653 progressed from small, experimental self-studies in Leiden to ambitious, polished biblical tableaux in early Amsterdam, then to intimate, technically innovative works in the 1640s that emphasized light, atmosphere, and human emotion. This steady evolution—marked by growing use of drypoint, freer handling, and deeper psychological insight—set the stage for the monumental experimentation and expressive power seen in The Three Crosses and his later 1650s masterpieces. His willingness to treat plates as dynamic, revisable surfaces (creating multiple states) remained a constant thread throughout.
1643 The Three Trees
2023 SOLD for £ 870K by Christie's
The Three Trees
etching with engraving and drypoint
1643
on laid paper, watermark Foolscap with five-pointed Collar (Hinterding A.a.a.)
a brilliant, early and very atmospheric impression of this highly important landscape
printing very richly and darkly, with great depth, intense contrasts and selectively wiped highlights
the sulphur tinting in the sky very pronounced
Plate 214 x 280 mm.
Sheet 221 x 287 mm.
Sold for £ 870K from a lower estimate of £ 300K by Christie's on December 7, 2023, lot 17., from the collection of Sam Josefowitz.
etching with engraving and drypoint
1643
on laid paper, watermark Foolscap with five-pointed Collar (Hinterding A.a.a.)
a brilliant, early and very atmospheric impression of this highly important landscape
printing very richly and darkly, with great depth, intense contrasts and selectively wiped highlights
the sulphur tinting in the sky very pronounced
Plate 214 x 280 mm.
Sheet 221 x 287 mm.
Sold for £ 870K from a lower estimate of £ 300K by Christie's on December 7, 2023, lot 17., from the collection of Sam Josefowitz.
2025 SOLD for £ 830K by Christie's
The Three Trees
etching with engraving and drypoint
1643
on laid paper, watermark Strasbourg Lily with countermark WK (Hinterding Ea)
a fine, tonal and atmospheric impression
printing richly and darkly, with intense contrasts
the sulphur tinting in the sky and by the tree very pronounced
just beginning to show a little wear in the densely hatched areas
with thread to narrow margins almost all around
generally in very good condition
Plate 21,3 x 28 cm. (8 ½ x 11 in.)
Sheet 21,4 x 28,2 cm. (8 ½ x 11 in.)
Sold for £ 830K from a lower estimate of £ 200K by Christie's on October 16, 2025, lot 348, from the Hegewisch collection.
etching with engraving and drypoint
1643
on laid paper, watermark Strasbourg Lily with countermark WK (Hinterding Ea)
a fine, tonal and atmospheric impression
printing richly and darkly, with intense contrasts
the sulphur tinting in the sky and by the tree very pronounced
just beginning to show a little wear in the densely hatched areas
with thread to narrow margins almost all around
generally in very good condition
Plate 21,3 x 28 cm. (8 ½ x 11 in.)
Sheet 21,4 x 28,2 cm. (8 ½ x 11 in.)
Sold for £ 830K from a lower estimate of £ 200K by Christie's on October 16, 2025, lot 348, from the Hegewisch collection.
1653 St. Jerome
2023 SOLD for £ 1.55M by Christie's
The early 1650s are very difficult for Rembrandt. He is a widower and his life with his son's nanny creates a scandal. Orders cease and his financial situation is very bad.
St. Jerome reading in an Italian Landscape was prepared in that intermediate period. Its terminus ante quem is 1653 with the first image of the unfinished Passion series.
An example of the first state of two, made by etching and drypoint on 26 x 21 cm warm toned Japan paper, was sold for £ 1.55M from a lower estimate of £ 500K by Christie's on December 7, 2023, lot 31 in the sale of the Josefowitz collection.
Saint Jerome reading in an Italian Landscape
etching and drypoint
circa 1653
on firm, warm-toned Japan paper
a superb, atmospheric impression of the extremely rare first state (of two)
the drypoint work on and around the lion's mane, the tree stump and the figures on the bridge suffused with burr
printing with a rich plate tone throughout and inky plate edges
the horizontal wiping marks and the sulphur tinting in the sky at right very pronounced
with small to narrow margins
in very good condition
Plate 259 x 205 mm.
Sheet 263 x 208 mm.
St. Jerome, who is a recurring character in Rembrandt's prints, is here identified only by the lion which looks at the Italian scenery. There is a contrast between the sketched figure of the saint in a blank sunlight and the detailed landscape in the Venetian style of Giorgione and Titian.
St. Jerome reading in an Italian Landscape was prepared in that intermediate period. Its terminus ante quem is 1653 with the first image of the unfinished Passion series.
An example of the first state of two, made by etching and drypoint on 26 x 21 cm warm toned Japan paper, was sold for £ 1.55M from a lower estimate of £ 500K by Christie's on December 7, 2023, lot 31 in the sale of the Josefowitz collection.
Saint Jerome reading in an Italian Landscape
etching and drypoint
circa 1653
on firm, warm-toned Japan paper
a superb, atmospheric impression of the extremely rare first state (of two)
the drypoint work on and around the lion's mane, the tree stump and the figures on the bridge suffused with burr
printing with a rich plate tone throughout and inky plate edges
the horizontal wiping marks and the sulphur tinting in the sky at right very pronounced
with small to narrow margins
in very good condition
Plate 259 x 205 mm.
Sheet 263 x 208 mm.
St. Jerome, who is a recurring character in Rembrandt's prints, is here identified only by the lion which looks at the Italian scenery. There is a contrast between the sketched figure of the saint in a blank sunlight and the detailed landscape in the Venetian style of Giorgione and Titian.
#AuctionUpdate #Rembrandt's 'Saint Jerome reading in an Italian Landscape' achieved £1,522,500 (more than 3x the low estimate). This magnificent sheet has everything Rembrandt achieved as a printmaker in his later, experimental years: https://t.co/FIGR4o5Ui7 pic.twitter.com/S75jkltNiH
— Christie's (@ChristiesInc) December 7, 2023
The Three Crosses
The 1653 Breakthrough: The Three Crosses
The Three Crosses (drypoint and burin, with later states incorporating burin corrections) represents the culmination of these developments. At roughly the scale of a small painting, it depicts the Crucifixion with cinematic energy, dramatic contrasts, and raw emotional intensity. Rembrandt reworked the plate multiple times (at least four to five states), dramatically altering composition, adding heavy drypoint for velvety darkness, and using plate tone for unique impressions.
The Three Crosses (drypoint and burin, with later states incorporating burin corrections) represents the culmination of these developments. At roughly the scale of a small painting, it depicts the Crucifixion with cinematic energy, dramatic contrasts, and raw emotional intensity. Rembrandt reworked the plate multiple times (at least four to five states), dramatically altering composition, adding heavy drypoint for velvety darkness, and using plate tone for unique impressions.
- Why a "breakthrough": It pushed drypoint to new expressive heights for atmospheric and tenebrous effects, treated the plate with radical revisions (almost like painting or drawing over previous work), and achieved a profound spiritual and dramatic impact. Only about 60 impressions exist from the early states due to the fragility of the drypoint burr. The work built directly on the lighting mastery of the Hundred Guilder Print, the atmospheric innovation of The Three Trees, and decades of reworking plates for evolving states.
1653 2nd state
2024 SOLD for $ 1.38M by Christie's
In 1653 Rembrandt manages to enlarge the format of his prints.
His solutions are innovative. The dry point was used until then in addition to etching and chisel for minor reworks of the drawing. Rembrandt attempts compositions entirely in dry point.
Applied obliquely like a pencil, his needle improves the variety of the line. The incision of the stylus in the copper is shallow, allowing a harmony between the drawing and the inkings left voluntarily on the plate to bring brightness and shadows.
His second work and first masterpiece in these improved techniques is The Three Crosses, also known as Christ crucified between the two thieves, 38 x 45 cm. The innovative tumultuous composition also features a crowd of mourners including the fainted Mary, plus a centurion converted by the last breath of Christ.
A richly tonal example of the second state of the Christ crucified between the two thieves was sold for $ 1.38M from a lower estimate of $ 1M by Christie's on October 23, 2024, lot 20. in the sale of the Schwartz collection. It is printed with full 1 mm margins on laid paper with Strasbourg watermark. Its condition is very good.
His solutions are innovative. The dry point was used until then in addition to etching and chisel for minor reworks of the drawing. Rembrandt attempts compositions entirely in dry point.
Applied obliquely like a pencil, his needle improves the variety of the line. The incision of the stylus in the copper is shallow, allowing a harmony between the drawing and the inkings left voluntarily on the plate to bring brightness and shadows.
His second work and first masterpiece in these improved techniques is The Three Crosses, also known as Christ crucified between the two thieves, 38 x 45 cm. The innovative tumultuous composition also features a crowd of mourners including the fainted Mary, plus a centurion converted by the last breath of Christ.
A richly tonal example of the second state of the Christ crucified between the two thieves was sold for $ 1.38M from a lower estimate of $ 1M by Christie's on October 23, 2024, lot 20. in the sale of the Schwartz collection. It is printed with full 1 mm margins on laid paper with Strasbourg watermark. Its condition is very good.
1653 3rd state
2022 SOLD for £ 1.46M by Christie's
The third state with a dramatically increased shade was considered as finished by Rembrandt who dated it 1653 and signed it. 22 impressions of that state are known including three in private hands. One of them on white laid paper with the Strasbourg watermark was sold for £ 1.46M from a lower estimate of £ 800K by Christie's on July 7, 2022, lot 17.
1653 3rd state
2023 SOLD for £ 1.23M by Christie's
Another copy from the third state, also on white laid paper with the Strasbourg watermark, was sold for £ 1.23M from a lower estimate of £ 1M by Christie's on December 7, 2023, lot 19, from the collection of Sam Josefowitz. Its margins in all sides are wider than the example sold in 2022, 396 x 465 mm overall paper size compared to 388 x 453 mm.
1653-1655 4th state
2024 SOLD for £ 1.25M by Christie's
1653 was otherwise a very difficult year for Rembrandt facing the consequences of Saskia's death on his family life, financial issues close to bankruptcy and the continuation of the Anglo-Dutch war that slowed the demands of the customers.
The next state of the Three Crosses was a further technical development made necessary from the wear out of the plate. It was possibly made just before the 1655 Ecce Homo that does not use the same Strasbourg watermarked paper. Before that consideration, it had been dated ca 1661.
Rembrandt worked differently for that fourth state, replacing on the same plate the subtle smoky contrasts by diagonal strokes. The scene is now closed like by two dark curtains that focus the viewer's eye on the figure of the dying Christ. The drawings are highly modified.
The example from the Josefowitz collection had been printed without trimming and without margins on laid paper without watermark. This early impression from the fourth state has been darkly and evenly suffused with burr in dramatic contrasts. it was sold for £ 1.25M from a lower estimate of £ 800K by Christie's on December 5, 2024, lot 29.
These processes could not satisfy the artist because of the painstaking preparation of the ink shades and of the necessarily incomplete and frustrating repairs to the worn plates, after a mere 3 runs of low production. He will not reuse this technique, giving up the possible project of a dry point series on the Passion of Christ.
A richly inked impression from the fourth state with the Strasbourg watermark was sold for £ 420K by Christie's on December 2, 2008, lot 49. A fine impression of the same state on Japan paper was sold for £ 470K on December 5, 2006, also by Christie's, lot 201.
A fifth state was created after a local printer acquired the plate.
The next state of the Three Crosses was a further technical development made necessary from the wear out of the plate. It was possibly made just before the 1655 Ecce Homo that does not use the same Strasbourg watermarked paper. Before that consideration, it had been dated ca 1661.
Rembrandt worked differently for that fourth state, replacing on the same plate the subtle smoky contrasts by diagonal strokes. The scene is now closed like by two dark curtains that focus the viewer's eye on the figure of the dying Christ. The drawings are highly modified.
The example from the Josefowitz collection had been printed without trimming and without margins on laid paper without watermark. This early impression from the fourth state has been darkly and evenly suffused with burr in dramatic contrasts. it was sold for £ 1.25M from a lower estimate of £ 800K by Christie's on December 5, 2024, lot 29.
These processes could not satisfy the artist because of the painstaking preparation of the ink shades and of the necessarily incomplete and frustrating repairs to the worn plates, after a mere 3 runs of low production. He will not reuse this technique, giving up the possible project of a dry point series on the Passion of Christ.
A richly inked impression from the fourth state with the Strasbourg watermark was sold for £ 420K by Christie's on December 2, 2008, lot 49. A fine impression of the same state on Japan paper was sold for £ 470K on December 5, 2006, also by Christie's, lot 201.
A fifth state was created after a local printer acquired the plate.
1655 Ecce Homo
1st state
2018 SOLD for £ 2.65M by Christie's
1655 is another difficult year for Rembrandt closer than ever to bankruptcy.
After his Christ crucified, the artist prepares in the same size another multi-figure scene of the Passion, Ecce Homo (Christ presented to the people). The Japan paper is smaller than his copperplate and he adds a narrow extra stripe at the top of the image.
The Ecce Homo is inspired from the same theme printed by Lucas van Leyden in 1520, Rembrandt displaying a closer view conducing to a theatrical staging of the action in which Christ is presented on a raised terrace in front of Pilate’s palace. The figures including Christ are described in outlines. This voluntarily sketchy impression improves the immediacy of the action.
Christ's presentation matches the contemporary Netherlandish judicial practice. The viewer is pushed by the artist in the midst of the attending crowd. The palace is in the style of the new Amsterdam town hall opened in the same year, 1655.
A 38 x 45 cm impression of the first state of Ecce Homo was sold for £ 2.65M by Christie's on July 5, 2018, lot 22. It is the only copy remaining in private hands from the first four states of this image.
After his Christ crucified, the artist prepares in the same size another multi-figure scene of the Passion, Ecce Homo (Christ presented to the people). The Japan paper is smaller than his copperplate and he adds a narrow extra stripe at the top of the image.
The Ecce Homo is inspired from the same theme printed by Lucas van Leyden in 1520, Rembrandt displaying a closer view conducing to a theatrical staging of the action in which Christ is presented on a raised terrace in front of Pilate’s palace. The figures including Christ are described in outlines. This voluntarily sketchy impression improves the immediacy of the action.
Christ's presentation matches the contemporary Netherlandish judicial practice. The viewer is pushed by the artist in the midst of the attending crowd. The palace is in the style of the new Amsterdam town hall opened in the same year, 1655.
A 38 x 45 cm impression of the first state of Ecce Homo was sold for £ 2.65M by Christie's on July 5, 2018, lot 22. It is the only copy remaining in private hands from the first four states of this image.
Rare Rembrandt Print at Christie’s London in July https://t.co/99TSYVaBkp pic.twitter.com/wwG1KoLWE4
— Wall Power (@artmarket) May 2, 2018
5th state
2025 SOLD for £ 950K by Christie's
Christ presented to the People (‘Ecce Homo’) (1655, drypoint)
An impression from the Josefowitz collection was sold for £950K from a lower estimate of £ 500K by Christie's on December 3, 2025, lot 47.
Christ presented to the People (‘Ecce Homo’)
drypoint
1655
on heavy laid paper, without watermark
a very fine impression of the very rare fifth state (of eight)
printing with considerable burr and a pronounced, subtly modulated plate tone
with fine wiping marks and inky plate edges
with small margins
generally in very good condition
Plate 358 x 455 mm.
Sheet 361 x 459 mm.
The copper plates wear out, preventing large printing. From the fourth state the plate is cut down by about 25 mm in height, removing the architrave. The artist deliberately blurs some damaged areas of the Ecce Homo after its fourth state.
A 36 x 46 cm impression from the fifth state on heavy laid paper without watermark was sold for £ 510K by Sotheby's on December 6, 2023, lot 13.
Rembrandt changed the composition drastically in the later states. The eighth and last state is dated 1655.
An impression from the Josefowitz collection was sold for £950K from a lower estimate of £ 500K by Christie's on December 3, 2025, lot 47.
Christ presented to the People (‘Ecce Homo’)
drypoint
1655
on heavy laid paper, without watermark
a very fine impression of the very rare fifth state (of eight)
printing with considerable burr and a pronounced, subtly modulated plate tone
with fine wiping marks and inky plate edges
with small margins
generally in very good condition
Plate 358 x 455 mm.
Sheet 361 x 459 mm.
The copper plates wear out, preventing large printing. From the fourth state the plate is cut down by about 25 mm in height, removing the architrave. The artist deliberately blurs some damaged areas of the Ecce Homo after its fourth state.
A 36 x 46 cm impression from the fifth state on heavy laid paper without watermark was sold for £ 510K by Sotheby's on December 6, 2023, lot 13.
Rembrandt changed the composition drastically in the later states. The eighth and last state is dated 1655.
1656 Arnout Tholinx, Inspector
2025 SOLD for £ 3.1M by Christie's
The portrait of Arnout Tholinx, inspector, is an etching and engraving with drypoint printed ca 1656 by Rembrandt.
A copy from the first state of two on laid paper was sold for £ 3.1M from a lower estimate of £ 1.5M by Christie's on December 3, 2025, lot 9 from "The Sam Josefowitz Collection: Graphic Masterpieces by Rembrandt van Rijn – Part III," in London.
Confirmation of Rarity
This print is exceptionally rare, even among Rembrandt's oeuvre. It exists in only two states, and the impression in the Josefowitz collection (the one being sold) is one of just four known examples of the first state—the others are held by the British Museum, the Louvre (from the Rothschild collection), and a private collection. The rarity stems from several factors: the heavy reliance on drypoint, which wears down quickly and limits the number of high-quality impressions that can be pulled from the plate; the plate's likely private ownership by the sitter (or his family), restricting widespread printing; and Rembrandt's financial difficulties in the mid-1650s, which may have curtailed production. Historically, it has always been noted for its scarcity, with early catalogers like Thomas Wilson in 1836 describing it as "extremely rare." This makes it the rarest of Rembrandt's major portrait prints from the 1650s.
Comparison with the Portrait of Jan Lutma
The Portrait of Jan Lutma (also known as Jan Lutma, Goldsmith) is another Rembrandt print from 1656, making it a close contemporary to the Tholinx portrait. Both belong to a select group of Rembrandt's mid-1650s portraits depicting Amsterdam professionals or acquaintances, often commissioned for financial support during the artist's bankruptcy period. They share stylistic and technical similarities as mature works showcasing Rembrandt's mastery of printmaking, but also exhibit subtle differences in execution and emphasis.
Similarities in Style and Technique
A copy from the first state of two on laid paper was sold for £ 3.1M from a lower estimate of £ 1.5M by Christie's on December 3, 2025, lot 9 from "The Sam Josefowitz Collection: Graphic Masterpieces by Rembrandt van Rijn – Part III," in London.
Confirmation of Rarity
This print is exceptionally rare, even among Rembrandt's oeuvre. It exists in only two states, and the impression in the Josefowitz collection (the one being sold) is one of just four known examples of the first state—the others are held by the British Museum, the Louvre (from the Rothschild collection), and a private collection. The rarity stems from several factors: the heavy reliance on drypoint, which wears down quickly and limits the number of high-quality impressions that can be pulled from the plate; the plate's likely private ownership by the sitter (or his family), restricting widespread printing; and Rembrandt's financial difficulties in the mid-1650s, which may have curtailed production. Historically, it has always been noted for its scarcity, with early catalogers like Thomas Wilson in 1836 describing it as "extremely rare." This makes it the rarest of Rembrandt's major portrait prints from the 1650s.
Comparison with the Portrait of Jan Lutma
The Portrait of Jan Lutma (also known as Jan Lutma, Goldsmith) is another Rembrandt print from 1656, making it a close contemporary to the Tholinx portrait. Both belong to a select group of Rembrandt's mid-1650s portraits depicting Amsterdam professionals or acquaintances, often commissioned for financial support during the artist's bankruptcy period. They share stylistic and technical similarities as mature works showcasing Rembrandt's mastery of printmaking, but also exhibit subtle differences in execution and emphasis.
Similarities in Style and Technique
- Composition and Subject Matter: Both are half-length, seated portraits that emphasize the sitter's profession and personality through subtle details. Tholinx, a physician and inspector of medical colleges, is shown at a desk with reading glasses in hand, an open book, stacked papers, and bottles (likely medical or scholarly tools) in the background, conveying intellectual poise and introspection. Lutma, a renowned goldsmith and sculptor, is similarly posed in a relaxed yet dignified manner, holding a candlestick with a hammer, chisels, and an auricular-style dish on the table beside him—attributes that highlight his craft. In each, Rembrandt uses the setting to add depth and narrative, drawing the viewer's eye to the face while integrating symbolic elements that reflect the sitter's status.
- Printmaking Techniques: Both employ a combination of etching (for fine lines and structure), drypoint (for rich, velvety burr and tonal depth), and engraving or burin work (for sharper details and refinements). Rembrandt's innovative use of drypoint is prominent in creating dramatic contrasts: in Tholinx, it produces deep blacks, atmospheric shadows (e.g., ink-like effects on the shoulder), and textured folds in clothing, with deliberate "unfinished" areas that guide focus to the face and hands. Similarly, in Lutma, drypoint adds burr over a dense web of etched lines, varying direction and strength to achieve a wide range of tones and textures, such as the soft rendering of Lutma's aged features and the reflective surfaces of his metalwork tools. This results in a shared emotive quality—velvety richness and subtle plate tone that evoke three-dimensionality and light play, hallmarks of Rembrandt's late style.
- Artistic Intent and Effect: These prints exemplify Rembrandt's 1650s shift toward expressive, introspective portraits with psychological depth. The burr from drypoint creates a sense of immediacy and drama, akin to his experimental works like The Three Crosses (1653), where drypoint conveys emotion over precision. Both portraits lack traditional identifying captions, relying on visual storytelling to immortalize the sitters.
- States and Durability: Tholinx has only two states, with the first (like the Josefowitz impression) featuring abundant drypoint burr for bold, sometimes ambiguous effects (e.g., spots or poured-ink illusions) that were toned down in the second state for clarity. Lutma, in contrast, has four states, allowing for more progressive refinements and potentially more impressions overall—though first-state examples remain scarce and prized for their fresh burr.
- Tonal Emphasis and Finish: Tholinx leans toward a more "unfinished" aesthetic in peripheral areas, using excessive drypoint to create captivating ambiguity and direct attention inward, almost like a sketch brought to life. This imparts a mysterious, intimate quality. Lutma feels slightly more resolved, with etching providing a structured base and drypoint enhancing textures (e.g., the absent, half-closed eyes suggesting Lutma's possible blindness, adding pathos). The result is a warmer, more tactile portrayal in Lutma, emphasizing craftsmanship, while Tholinx prioritizes intellectual aura and shadow play.
- Overall Impact: Tholinx is often described as more captivating and elusive due to its rarity and dramatic burr, evoking a sense of rarity in viewing. Lutma, while equally masterful, has a broader catalog presence and feels more accessible in its celebration of artisanal skill, with clearer integration of tools as focal points.
