Rembrandt van Rijn, ‘The Blind Fiddler’, 1631, Christopher-Clark Fine Art

Original etching printed in black ink on laid paper

A superb 17th century/lifetime impression of Bartsch, Biorklund/Barnard and Usticke’s third and final state, New Hollstein’s eighth state of nine, of this rare etching (characterized by G.W. Nowell-Usticke in his 1967 catalogue Rembrandt’s Etchings: States and Values as “a scarce, delicate little print”, and assigned his scarcity rating of “R+” [75-125 impressions extant in that year]) printed after the removal of the triangular seam from the top of the figure’s right sleeve.

Catalog: Bartsch 138 iii/iii; Hind 38; Biorklund-Barnard 31-A iii/iii; Usticke 138 iii/iii; New Hollstein 77 viii/ix.

Literature regarding this artwork: Christopher White, Rembrandt as an Etcher; A Study of the Artist at Work, Yale University Press, New Haven & London, 1999, p. 175 (ill.). Clifford S. Ackley, Rembrandt’s Journey: Painter-Draftsman-Etcher Museum of Fine Arts, Boston, 2003, no. 24, p. 90 (ill.): Erik Hinterding, Rembrandt’s Etchings from the Frits Lugt Collection, Thoth Publishers, Bussum, 2008, no. 116, vol. II, p. 130 (ill.).

About Rembrandt van Rijn

A prolific painter, draftsman, and etcher, Rembrandt van Rijn is considered the greatest artist of Holland's Golden Age. He worked from direct observation, and despite the evolution of his style over the course of his career, Rembrandt’s compelling descriptions of light, space, atmosphere, modeling, texture, and human affect are the result of intense perceptual study. A prominent portraitist, Rembrandt is most famous for The Night Watch (1642), a monumental painting of militia guards that features Rembrandt’s distinctive use of chiaroscuro.

Dutch, 1606-1669, Leiden, Netherlands, based in Amsterdam and Leiden, Holland