'Christ at Emmaus-Large Plate' (1639 B. Holl. 87, BB, 54H) is an 'etching, burin and drypoint on thick, fibrous laid paper with small clean margins. Signed and dated in the plate, Rembrandt f. 1654, lower left.A Certificate of Authenticity is included. Professionally framed.
Bjorklund Barnard's third state of three. White and Boon's third state of three, and Nowell Eusticke's fourth state of four after the addition of the fine close horizontal shading is added under the right side of the tablecloth at chest level to the man descending the stairs.
According to Newell Eusticke, a fourth state impression issued by Bernard (1845) with the shading beneath Christ's feet strongly retouched with horizontal and left to right diagonals.
Nowell Eusticke refers to the impression an "strong".'
Rembrandt, in full Rembrandt Harmenszoon van Rijn, Rembrandt originally spelled Rembrant, (born July 15, 1606, Leiden, Netherlands—died October 4, 1669, Amsterdam), Dutch Baroque painter and printmaker, one of the greatest storytellers in the history of art, possessing an exceptional ability to render people in their various moods and dramatic guises. Rembrandt is also known as a painter of light and shade and as an artist who favoured an uncompromising realism that would lead some critics to claim that he preferred ugliness to beauty.
The core of Rembrandt’s oeuvre, however, consists of biblical and—to a much lesser extent—historical, mythological, and allegorical “history pieces,” all of which he painted, etched, or sketched in pen and ink or chalk. Seen over his whole career, the changes in Rembrandt’s style are remarkable. His approach to composition and his rendering of space and light—like his handling of contour, form, and colour, his brushwork, and (in his drawings and etchings) his treatment of line and tone—are subject to gradual (or sometimes abrupt) transformation, even within a single work. The painting known as Night Watch (1640/42) was clearly a turning point in his stylistic development. These changes are not the result of an involuntary evolution; rather they should be seen as documenting a conscious search in pictorial and narrative respects, sometimes in discussion, as it were, with his great predecessors.
