Signed and date in the title margin below the image lower left Rembrandt f. / 1639.

A dark and richly printed 18th century impression of Bartsch's second state of two, Usticke's third and final state, showing the skill second retouching of the plate by Captain William Baillie (see the vertical lines between the boy's left leg and the foot of the chair), with rich burr on the fur of the gold-weigher's cloak, printed c. 1792.

The upper left sheet tip repaired outside the platemark, the lower right sheet tip with an unobtrusive expertly flattened diagonal crease, otherwise in excellent condition with 7/16 inch margins outside the platemark all around. Collections in which impressions of this state of this etching can be found: Rijkspretenkabinet,Rijksmuseum, Amstedam; Kupferstichkabinett der Staatlichen Museen, Berlin-Dahlem; Fitzwilliam Museum, Leningrad; The British Museum, London; Frankfurt-on-Main, Oxford; Bibliotheque Nationale, Pairs; Duthuit Collection, Petit Palais, Paris; Collection Edmond de Rothschild, Musee du Louvre, Paris; Graphische Sammlung, Albertina, Vienna. In the year 1639, Rembrandt was commissioned by Prince Frederik Henderik, of the Dutch Court at the Hague, to do two paintings of scenes from the Passion of Christ. Art aficionado and advisor Constanin Huyghens was instrumental in this commission with his recommendation of Rembrandt to Frederik Hendrik after being asked to compare the artist's talents as a painter to those of Rembrandt's friend Johanis Lievens. Rembrandt was judged the superior painter. For reasons still unclear today, there was a substantial delay between the completion and delivery of the two paintings, 'The Descent from the Cross' and 'The Resurrection', and Rembrandt's receipt of payment for them. The artist found himself in particular need of cash at this time, since the first installment on his new house on Amsterdam's Breestraat was coming due. He wrote several pressing letters to Huyghens to ask his intervention in expediting the payment from Fredrik Hendrik, but apparently to no avail. At some point during this period, Rembrandt made the acquaintance of Jan Uytenbogaert, the Receiver-General for the Dutch Court in Amsterdam to the Hague. Uytenbogaert, having developed an appreciation for Rembrandt's work, asked if he could view the paintings prior to their being sent. Since a friendship had begun to develop between the two men, the Receiver-General offered to approach the Prince to ask again for the payment. A month later when no response had been received, Uytenbogaert acted as intermediary for Rembrandt though the Receiver-General's office in Amsterdam. Thus the matter was finally resolved. The execution of this etching is generally agreed to be a gesture of appreciation expressed by Rembrandt for Uytenbogaert's concern and assistance. The official is depicted in 16th century costume, weighing moneybags and handing them to a young assistant for safekeeping. It does not seem likely that the etching shows Uytenbogaert at his daily work, as the anecdotal manner fits in very nicely with the 16th century depictions of moneychangers by Quentin Massys and Marinus van Reynerswaele. There is every reason to believe that the etching was produced in collaboration with the sitter, whose splendid collection of prints by Lucas van Leyden testifies to his deep interest in 16th century art.

Bartsch 281 ii/ii; Hind 225; Biorklund-Barnard 39-D; Usticke 281 iii/iii

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