![REMBRANDT H. van Rijn (1606 - 1669) - "The Annunciation to the Shepherds". 1634. Original etching, burin and drypoint, on laid paper. Reference: Bartsch, n°44. Hollstein, n°120. Meder, n°120. Late print. Margins. "The artist worked extensively on the plate to achieve these dramatic chiaroscuro effects, which range from the sparkling white of glory to the absolute black of the undergrowth. For his first "nocturnal" print, he combined etching, burin and drypoint to create velvety-black surfaces comparable to those obtained with the so-called manière noire, or mezzotinto, technique, which Rembrandt knew but did not use [...] The most remarkable thing about this print is the light projected by the glory. Rembrandt studied its effect on every animal, every plant, every character" (BNF). 32.5 x 25 cm. Condition A (rare small folds and pinholes in the margins).](https://cdn.drouot.com/d/lot/fullHD/6/146718/200edab0aee29e92d69c087f608381b0)
REMBRANDT H. van Rijn (1606 - 1669) - "The Annunciation to the Shepherds". 1634. Original etching, burin and drypoint, on laid paper. Reference: Bartsch, n°44. Hollstein, n°120. Meder, n°120. Late print. Margins. "The artist worked extensively on the plate to achieve these dramatic chiaroscuro effects, which range from the sparkling white of glory to the absolute black of the undergrowth. For his first "nocturnal" print, he combined etching, burin and drypoint to create velvety-black surfaces comparable to those obtained with the so-called manière noire, or mezzotinto, technique, which Rembrandt knew but did not use [...] The most remarkable thing about this print is the light projected by the glory. Rembrandt studied its effect on every animal, every plant, every character" (BNF). 32.5 x 25 cm. Condition A (rare small folds and pinholes in the margins).
Result
Not sold
Buyer's premium
28%
REMBRANDT H. van Rijn (1606 - 1669) - "The Annunciation to the Shepherds". 1634. Original etching, burin and drypoint, on laid paper. Reference: Bartsch, n°44. Hollstein, n°120. Meder, n°120. Late print. Margins. "The artist worked extensively on the plate to achieve these dramatic chiaroscuro effects, which range from the sparkling white of glory to the absolute black of the undergrowth. For his first "nocturnal" print, he combined etching, burin and drypoint to create velvety-black surfaces comparable to those obtained with the so-called manière noire, or mezzotinto, technique, which Rembrandt knew but did not use [...] The most remarkable thing about this print is the light projected by the glory. Rembrandt studied its effect on every animal, every plant, every character" (BNF). 32.5 x 25 cm. Condition A (rare small folds and pinholes in the margins).
Sale
Friday 15 December・13:30 (Europe/Paris)
Salle 13 - Hôtel Drouot
9, rue Drouot
75009 Paris