Rembrandt The Tribute Money, c. 1635; Caught in mid-statement with upraised hand and forward-leaning posture, Christ responds passionately to the question put to him by his companions. In this New Testament episode, men come to ask Jesus whether or not Jews should pay taxes levied on them by the Romans under Caesar. In response to this attempt to trick him into occupying a controversial position, he states, “Render unto Caesar the things which are Caesar’s, and unto God’s the things which are God’s.” Religious scholars have understood this phrase to call for a separation of church and state, to champion complete devotion to God, and to provide reasons not to pay taxes. Whatever the interpretation, the image stands alone as a work of art of intimate dimensions.

Rembrandt conveys the tension of the moment through a densely layered composition. Setting the grace and poise displayed on Christ’s features against expressions of concentration, skepticism and even frustration on the faces around him, the artist achieves a rich and textured snapshot of a moment. With characteristically fine detail, he describes velvety shadows and bright rays of light beneath the point of his etcher’s burin. Due to its sophisticated iconography corresponding to multiple meanings, The Tribute Money is desirable for any collector of master etchings.

Created c. 1635, this is etching and drypoint is according to the New Hollstein Dutch, a State IV (of IV), Nowell-Usticke early State III (of III); Biörklund State II (of II); White & Boon State II (of II); Hind State II (of II).

Catalogue Raisonné & COA:

Rembrandt The Tribute Money, c. 1635 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoice accompanying the final sale of the work):

1. Bartsch. The Illustrated Bartsch Vol. 50.  Edited by Stephanie S. Dickey.  New York: Abaris Books, 1981. Illustrated as catalogue raisonné no.68 (another example illustrated).

2. Biörklund, George, Rembrandt’s Etchings: True and False, Stockholm: George Biörklund, 1968. Listed and illustrated as catalogue raisonné no. BB 35-2.

3. Hind, Arthur. A Catalogue of Rembrandt’s Etchings. New York: Da Capo Press, 1967. Listed and illustrated as catalogue raisonné no. 124.

4. Hinterding, Erik and Rutgers, Jaco. The New Hollstein Dutch & Flemish Etchings, Engraving and Woodcuts, 1450-1700: Rembrandt Text I 1625-1635 nos. 1-155. Edited by Ger Luijten. Amsterdam: Sound and Vision Publishers, 2013. Listed as catalogue raisonné no. 138.

5. Hinterding, Erik and Rutgers, Jaco. The New Hollstein Dutch & Flemish Etchings, Engraving and Woodcuts, 1450-1700: Rembrandt Plates I 1625-1634 nos. 1-138. Edited by Ger Luijten. Amsterdam: Sound and Vision Publishers, 2013. Illustrated as catalogue raisonné no. 138.

6. Mϋnz, Ludwig. Rembrandt’s Etchings: Reproductions of the Whole Original Etched Work, Vol. 1.  London:Phaidon Press, 1952.  Illustrated as plate no. 224 (another example illustrated).

7. Mϋnz, Ludwig. Rembrandt’s Etchings: Reproductions of the Whole Original Etched Work, Vol.2. London: Phaidon Press, 1952.  Listed as catalogue raisonné no. 200.

8. Nowell-Eusticke, G.W. Rembrandt’s Etchings. New York: Hacker Art Books, Inc., 1988. Listed and illustrated as catalogue raisonné no. B 68.

9. White, Christopher & Karel Boon. Rembrandt’s Etchings, Vol. I: Text.  Amsterdam: Van Gendt & Co.,1969. Listed as catalogue raisonné no. B.68.

10. White, Christopher & Karel Boon. Rembrandt’s Etchings, Vol. II: Plates. Amsterdam: Van Gendt & Co.,1969. Illustrated as catalogue raisonné no. B.68.

11. A Certificate of Authenticity will accompany this work.

About the Framing:

Rembrandt The Tribute Money, c. 1635 is framed to museum-grade, conservation standards, presented in a complementary moulding and finished with linen-wrapped mats and optical grade Plexiglas.