Original etching and drypoint printed in black ink on laid paper.
Size: 6 7/8 x 6 1/8 inches
1641
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Signed and dated in the plate on the dark tablet at the right Rembrandt f.1641 (indistinct).
A clear, strong and dark 17th century/lifetime impression of Bartsch's first state of two, Usticke's Trial Proof A., printed prior to the appearance of the stripe near the bottom of the left fold of the tablecloth, an extremely rare impression of this scarce etching.
With the blank title margin which normally appears below the image in this state trimmed away, trimmed on the platemark at the top and sides, otherwise in excellent condition. Literature: Christopher White, Rembrandt as an Etcher: A Study of the Artist at Work, Yale University Press, New Haven & London, 1999, no. 176, p.137 (ill.). Collections in which impressions of this state of this etching can be found: Kupferstchkabinett der Staatliches Musen, Berlin-Dahlem; Teylers Stichting, Haarlem; The British Museum, London; Pierpont Morgan Library, New York; Bibliotheque Nationale, Paris; Collection Edmond de Rothschild, Musee du Louvre, Paris. Cornelis Claesz Anslo (1592-1646) was the preacher of the Mennonite community of the Waterlanders of Amsterdam. He wrote various theological works in which he defended Mennonite orthodoxy against the attacks of the Socinians. The same year as the completion of this plate, Rembrandt painted a portrait of Anslo with a woman who was probably his wife. Rembrandt makes reference to the sitter's occupation in the manner of his representation. Anslo holds an upturned book in his right hand, with a pen held between his fingers. With his left hand outstretched in an oratorical gesture, he explains a passage from the Bible. The addition to the etching of the framed picture, which has been taken down from its nail and turned to face the wall, had a symbolic purpose, alluding to the Protestant belief that salvation can only be communicated through the word, thus denying the role accorded the image by Catholics. A similar theme in a different context is echoed in the poem probably composed for this print by Vondel, which although never inscribed on the plate, was written in manuscript on several impressions: 'On Cornelis Anslo O Rembrandt, paint Cornelis' voice! His outward appearance is the least of him. What is invisible, one can only learn by ear; He who wants to see Anslo must hear him'.
Bartsch 271 i/ii; Hind 187; Biorklund-Barnard 41-I; Usticke 271 Trial Proof A.
