Arguably one of the greatest master printers and portrait makers of this period, Rembrandt is able to delve into the very personality and mannerisms of his various subjects.  Jan Lutma, The Goldsmith, 1656 is seen with a slight sliver of a smile, resting comfortably in his goldsmith’s chair with a vaguely humorous, relaxed expression.  Light streams in from the window in the background, allowing our subject to be illuminated from behind giving an illusion of depth and texture.

According to Rembrandt scholar, K.G. Boon:

Portraits…are undisputed high points in Rembrandt’s graphic work.  With each one Rembrandt so immersed himself in his subject’s pursuits that in addition to a portrait he also created a type of human being.  With regard to Jan Lutma, the old goldsmith, Rembrandt’s typification of the artist is most pronounced in the head with its mild, brooding – and not a little     sardonic – glance.

Created in 1656, this etching, engraving and drypoint is signed in the plate by Rembrandt Harmenszoon van Rijn (Leiden, 1606- Amsterdam, 1669) in the upper center (upper left of the window) ‘Rembrandt | 1656’.  Also featuring an inscription in the plate to the right of Lutma’s left elbow: ‘Joannes Lutma Aurifecx | Natus Groningae,’ with address of Jan Lutma’s son Francois (1626-1664) engraved lower right: ‘F Lutma Ex.’ Likely a lifetime impression, this work is a New Hollstein Dutch State III of V, Nowell-Usticke State II (of VI), Biörklund State II (of III), Hind State II (of III), White & Boon II (of III).

Catalogue Raisonné & COA:
Rembrandt Jan Lutma, the Goldsmith, 1656 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices accompanying the final sale of the work):

1. Bartsch. The Illustrated Bartsch Vol. 50.  Edited by Stephanie S. Dickey.  New York: Abaris Books, 1981.Listed and illustrated as catalogue raisonné no. 276 (another example illustrated).

2. Biörklund, George. Rembrandt’s Etchings: True and False, Stockholm: George Biörklund, 1968. Listed and illustrated as catalogue raisonné no. BB 56-C.

3. Boon, K.G. Rembrandt: The Complete Etchings. New York: Harry N. Abrams, Inc., Publishers. Listed and illustrated as plate 270 and detailed in the introduction.

4. Hind, Arthur. A Catalogue of Rembrandt’s Etchings. New York: Da Capo Press, 1967. Listed and illustrated as catalogue raisonné no. 290.

5. Hinterding, Erik and Rutgers, Jaco. The New Hollstein Dutch & Flemish Etchings, Engraving and Woodcuts, 1450-1700: Rembrandt Text II 1636-1665 nos. 156-314. Edited by Ger Luijten. Amsterdam: Sound and Vision Publishers, 2013. Listed as catalogue raisonné no. 293.

6. Hinterding, Erik and Rutgers, Jaco. The New Hollstein Dutch & Flemish Etchings, Engraving and Woodcuts, 1450-1700: Rembrandt Plates III 1650-1665 nos. 247-314. Edited by Ger Luijten. Amsterdam: Sound and Vision Publishers, 2013. Illustrated as catalogue raisonné no. 293.

7. Mϋnz, Ludwig. Rembrandt’s Etchings: Reproductions of the Whole Original Etched Work, Vol. 1. London: Phaidon Press, 1952.  Listed as catalogue raisonné. no. 87.

8. Mϋnz, Ludwig. Rembrandt’s Etchings: Reproductions of the Whole Original Etched Work, Vol.2. London: Phaidon Press, 1952. Listed as catalogue raisonné no. 77.

9. Nowell-Eusticke, G.W. Rembrandt’s Etchings. New York: Hacker Art Books, Inc., 1988. Listed and illustrated as catalogue raisonné no. B 276.

10. White, Christopher and Boon, Karel. Rembrandt’s Etchings, Vol. 1, Amsterdam: Van Gendt & Co.,1969. Listed catalogue raisonné no.  B 276.

11. White, Christopher and Boon, Karel. Rembrandt’s Etchings, Vol. 2, Amsterdam: Van Gendt & Co.,1969. Listed and illustrated as catalogue raisonné no. B 276.

12. A Certificate of Authenticity will accompany this work.

ABOUT THE FRAMING:

Rembrandt Jan Lutma, the Goldsmith, 1656 is framed to museum-grade, conservation standards, presented in a complementary moulding and finished with linen-wrapped mats and optical grade Plexiglas.