Rembrandt Etchings from the Zorn Collections
Johan Cederlund Ed de Heer Michiel Kersten
Foreword Celebrating its seventy-fifth anniversary, the Zorn Museum in Mora is one of Sweden’s most established and best-loved art museums. The focus of its activities is, of course, Anders Zorn (1860-1920), the fatherless boy from Mora who rose from humble beginnings to become Sweden’s most successful artist, as well as a major player on the international art scene. Zorn’s paintings, watercolours, etchings and sculptures are on permanent display at the museum and attract visitors from all over the world. Zorn and his wife Emma (1860-1942) had no heirs and bequeathed all their assets to the Swedish State. The Zorn Collections, as their bequest became known, comprise more than sixty wooden buildings and some twenty thousand objects, including paintings, prints, silverware, textiles and tapestries. The Zorn Collections contain groups of artworks that to a greater or lesser degree lead a hidden existence. Among them are the 180 etchings by Rembrandt acquired by the Zorns. This collection has received little scholarly attention despite its size, which is considerable even from an international point of view. While parts of it have been exhibited on occasion, the accompanying publications – the most recent dating from 1964 – are fragmentary and extremely antiquated in their content. In 2012, to improve this situation, Johan Cederlund, Director of the Zorn Museum, initiated a project to research, appraise and describe the Rembrandt etchings in the Zorn Collections, and to publish the findings in a catalogue. An exhibition at the Zorn Museum celebrates the completion of the project. Ed de Heer, former Director of the Rembrandt House Museum, in Amsterdam, generously contributed his expertise. In anticipation of the extra work that would accompany the preparation of the exhibition, Michiel Kersten joined the research team in the autumn of 2013. X-ray photographs, which nowadays are essential in studying, comparing and identifying watermarks, were taken by Harry van Hugten. It is with great satisfaction that we now present the outcome of this successful project, a catalogue, which thanks to Lecturis, the publishers, will reach an audience far beyond the confines of Mora and Sweden. It is especially notable that the catalogue is being published in the same year that Sweden and the Netherlands celebrate 400 years of diplomatic relations. On 5 April 1614 the first defence, trade and shipping treaty was signed between the two countries, and the first resident ambassadors were exchanged – in Rembrandt’s lifetime! This Zorn Rembrandt project is proof that Swedish-Dutch relations continue to bear fruit today. Birgit Friggebo Chair, Board of Directors The Zorn Collections
Table of contents Acknowledgements
9
Anders Zorn – A short Introduction to his Life and Art
10
Zorn’s Collection
16
Catalogue Notes to the catalogue Self Portraits Biblical Subjects: Old Testament Biblical Subjects: New Testament Saints Allegorical and Fancy Subjects Beggars Nudes, Free Subjects and Mythological Subjects Landscapes Portraits of Men Studies of Men Studies of Women Miscellaneous Subjects Prints by Rembrandt only known in later States, reworked by an Unknown Assistant
20 22 35 49 92 100 108 135 149 153 170 192 206 212
Watermarks
216
Index of previous Owners
240
Table of Correspondence
242
Rembrandt Etchings Oeuvre Catalogues
244
Bibliography
246
Self Portraits
1. Self Portrait, Frowning: Bust, 1630
Watermark: none; chain lines vertical References: G. 14; M. 23; H. 30; Mz. 6; BB. 30-M; W&B. 10 Exhibitions: Mora 1952, no. 1; Mora 2006, no. 1
B. 10 | NHD. 68 | ZKG. 842 Signed with monogram and date: RHL 1630 (only in state 1). On verso, lower centre, in pencil: H. 30I, B. 10; lower right in pencil: B. 10
Literature: Boeck, 1953, p. 199; Chapman, 1990, pp. 19 and 21; Berlin - Amsterdam London, 1991-92, II, pp. 172-73. no. 2; White, 1999, pp. 117, 268 (note 12); London The Hague, 1999-2000, no. 21; Amsterdam London, 2000-01, no.7; Hinterding 2008, no. 4
Etching, [69 x 59 mm]; state III (III)
23
2. Self Portrait, Open Mouthed, as if Shouting: Bust, 1630
Watermark: none; chain lines vertical References: G.18; M. 22; H. 31; Mz. 7; BB. 30-Mn; W&B. 13 Exhibitions: Mora 1952, no. 2; Mora 1964, no. 1 Literature: Boston - St Louis 1980-81, no. 86; White 1999, pp. 117, 267; London - The Hague 1999-2000, no. 23; Boston 2000, no. 12; Hinterding 2008, no. 7
B. 13 | NHD. 67 | ZKG. 843 Signed with monogram and date: RHL 1630. On verso, upper left, in pencil: B. 13; centre, in pencil: 13 Etching, [70 x 59 mm]; state II (III)
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3. Self Portrait in a Cap and Scarf with the Face Dark: Bust, 1633
Watermark: Strasbourg lily with initials BA (Hinterding 2006, II, p. 193: A.BA.b.b.) References: G. 22; M. 99; H. 108; Mz. 18; BB. 33-G; W&B. 17 Literature: Filedt Kok 1972, pp. 34-35; Paris 1986, no. 22; London - The Hague 1999-2000, no. 38; Hinterding 2008, no. 9
B. 17 | NHD. 120 | ZKG. 845 Signed and dated lower centre: Rembrandt f. 1633. On verso, lower right, in pencil: B. 17 Etching and burin, 132 x 103 mm (trimmed on the plate mark), state II (V)
25
11. Self Portrait in a Flat Cap and Embroidered Dress, c. 1642
Watermark: none; chain lines vertical Provenance: Jean-Louis-Henri Le Secq, called Des Tournelles (L. 1336); Naudet, Paris (L. 1937) References: G. 12-293; M. 133; H. 157; Mz. 25; BB. 38.1; W&B. 26 Literature: London - The Hague 1999-2000, no. 58; Hinterding 2008, no. 17
B. 26 | NHD. 210 | ZKG. 856 Signed upper left: Rembrandt f. On verso, upper right corner, in pencil: B 26; centre right, in pencil: 26; lower centre, in pen and brown ink: Naudet M[archand] au Louvre 1825; below, in pencil: 856 Etching, 93 x 62 mm (sheet: 95 x 62); state III (III)
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Biblical Subjects: Old Testament
12a. Adam and Eve, 1638
Watermark: none; chain lines horizontal Provenance: Ferdinand Nagler (L. 2529); Kupferstichkabinett, Staatliche Museen zu Berlin (L. 1606); Kupferstichkabinett, Staatliche Museen zu Berlin (L. 2398) unidentified collection VB Reference: G. 29; M. 206; H. 159; Mz. 177; BB. 38-D; W&B. 28 Literature: Berlin 1970, no. 1; Slatkes 1980, pp. 7-13; Amsterdam 1985-86, no.36; Berlin – Amsterdam – London 1991-92, II, no. 11; Amsterdam 1996-97, no. 2; White 1999, pp. 38ff.; Amsterdam – London 2000-01, no. 30; Hinterding 2008, no. 18; Perlove and Silver 2009, pp. 70-75; Smith 2010
B. 28 | NHD. 168 | ZKG 858 Signed and dated lower centre: Rembrandt f. 1638. On verso, lower centre, in pencil: N. 242, No. 15, B N=28; below, in pencil: 16.106 Etching, [160] x 116 mm (sheet 160 x 120); state II (II)
36
12b. Adam and Eve, 1638
Watermark: none; chain lines vertical Provenance: Peter Gellatly (L.1185, sale Stuttgart, H.G. Gutekunst, 13-18 May 1911, no. 849: “Vorzüglicher früher Abdruck”, sold for 82 DM to Heinzelmann); James Reiss (L. 1522) Exhibitions: Mora 1952, no 15; Mora 1964, no. 18; Mora 2006, no. 13
B. 28 | NHD. 168 | ZKG. 857 Signed and dated lower centre: Rembrandt f. 1638. On verso, centre, in pencil: B. 28 and 29 Etching: 162 x 116 mm (sheet: 163 x 116 mm); state II (II)
37
23. The Angel Departing from Tobit’s Family
Watermark: none; chain lines vertical Provenance: The British Museum, Department of Prints and Drawings (L. 301); Sold as duplicate (with initials C.D. in pen and ink, in stamp L. 305) at Sotheby’s, London 21 April 1880 References: G. 42; M. 213; H. 185; Mz. 179; BB. 41-G; W&B. 43 Exhibitions: Mora 1952, no. 20; Mora 1964, no. 22 Literature: Vienna 1970-71, no. 138; Hamburg 1983, no. 201; Paris, 1986, no. 72; Münster 1994, no. 104; Amsterdam 1996-97, no. 50; Boston - Chicago 2003-04, no. 134; Hinterding 2008, no. 30
B. 43 | NHD. 189 | ZKG. 869 Signed and dated lower centre: Rembrandt f 1641. On verso, lower left in pencil: 48 and No. 56, in pen and black ink: 6, 43, 24, 7 (arranged lozenge-wise, the number 43 written opposite 24, 6 opposite 7); lower centre, in black chalk: B 23 Etching and drypoint, 103 x 154 mm (sheet: 110 x 158 mm); state IV (IX)
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Biblical Subjects: New Testament
24. The Adoration of the Shepherds: With the Lamp, c. 1654
Watermark: none; chain lines vertical Provenance: Chevalier Joseph Guillaume Jean Camberlyn (L. 514, sale Paris, E. Guichadot 24 april 1865 and the following eleven days, no. 2842: très belle épreuve du premier état non décrit, avec une place blanche au bord supérieur, vers la droite. Cabinet Wolterbeck); Max Machanèk (L.1775), Ernst Theodor Rodenacker (L. 2438); Henry Study Theobald (L. 1375, sale Stuttgart, H. G. Gutekunst, 12 May 1910 and the following days, no. 594: Ausgezeichneter Abdruck des 1. Zustandes mit der weissen Stelle rechts oben am Rande) References: G. 44; M. 238; H. 273; Mz. 226; BB. 54-1; W&B. 45 Exhibitions: Mora 1952, no. 24; Mora 1964, no. 25 Literature: Amsterdam - Rotterdam 1956, no. 92; Boston - New York 1969, no. 15; Berlin 1970, no. 43; Boston - Chicago 2003-04, no. 161; Hinterding 2006, I, pp. 133-35; Hinterding 2008. No. 32; Perlove and Silver 2009, pp. 174-75
B. 45 | NHD. 279 | ZKG. 870 Signed below, centre: Rembrandt f. On verso, lower centre: in pencil: B. 45 (2x), lower right in pencil: FEO Etching and drypoint, 105 x 129 mm (cut on the plate mark); state I (III)
50
25. The Adoration of the Shepherds: A Night Piece, c. 1656-57
Watermark: none; chain lines vertical References: G. 45; M. 230; H. 255; Mz. 237; BB.52-1; W&B. 46 Literature: Boston- New York 1996, no. 9; Berlin 1970, no. 42; Paris 1986, no. 109; White 1999, pp. 74-77; Amsterdam - London 200001, no. 67; Boston - Chicago 2003-04, no. 153; Hinterding 2006, I, pp. 139-40; Hinterding 2008, no. 33
B. 46 | NHD. 300 | ZKG. 871 On verso, upper left, in pencil: no. 45 [Gersaint no.] Rg+ (?), 25 (in a circle), 46; Lower left, in pencil: 19, ĂŠtat, a.[illegible] 7089; lower right, in pencil: WH Etching, drypoint and burin, [144] x 196 mm (sheet: 144 x 196 mm); state IX (XI)
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Saints
62. The Stoning of St Stephen, 1635
Watermark: none; chain lines vertical Provenance: Unidentified, probably Polish collection (L. 2678f) References: G. 98; M. 197; H. 125; Mz. 205;
B. 97 | NHD. 140 | ZKG. 912 Signed and dated lower left: Rembrandt.f.1635. On verso, lower centre, in pencil: B. 97 (2x); centre left, in pencil: S 1689
BB. 35-A; W&B. 97 Literature: Berlin 1970, no. 120; Vienna 1970-71, no. 86; Hinterding 2008, no. 81; Perlove and Silver 2009, p. 28
Etching, 95 x 85 mm (sheet: 97 x 85 (top)/86 (bottom) mm; state III (IV)
93
63. The Baptism of the Eunuch, 1641
Watermark: fragment of the crown of Strasbourg lily (Similar to Ash & Fletcher 1998, p. 186: type J. Similar to Hinterding, 2006, II, p. 220: J.c.a. Hinterding mentions an impression of B. 98 (second state) on paper with watermark J.b.c., almost identical to J.c.a.) References: G. 95; M. 210; H. 182; Mz. 211; BB. 41-E; W&B. 98 Exhibitions: Mora 1952, no. 44; Mora 1964, no. 41 Literature: Gaffron 1950, pp. 77-82; Berlin 1970, no. 122; Robinson 1980, p. 166; White 1999, pp. 11, 263, note 37; Boston – Chicago 2003-04, no. 107; Hinterding 2008, no. 82; Perlove and Silver 2009, pp. 22-23
B. 98 | NHD. 186 | ZKG. 913 Signed and dated (twice) lower right: Rembrandt. f 1641; upper right, in pen and brown ink: No. 95. On verso, centre right, in pencil: monogram Fv; lower left, in pencil: B. 98. Zorn Museum stamp missing Etching, 178 x 213 mm (sheet: 190 x 213 mm), state III (IV)
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64. The Death of the Virgin, 1639
Watermark: fleur de lis (Strasbourg lily in sun). See Laurentius 2012, p. 28, for a similar sun-like watermark, dated 1646. This is large size paper made in the Auvergne region. This particular watermark was hitherto unknown in Rembrandt etchings Provenance: Acquired by Zorn 15th October 1915 for £ 30 References: G. 97; M. 207; H. 161; MZ. 208; BB. 39-A; W&B. 99 Exhibitions: Mora 1952, no. 45; Mora 1964, no. 42; Mora 2006, no. 18 Literature: Berlin 1970, no. 127; Campbell 1980; Amsterdam 1985-86, nos. 37-39; Paris 1986, no. 58; Berlin – Amsterdam – London 1991-92, II, no. 14; White 1999, pp. 41-43; Amsterdam – London 2000-01, no. 32; Edinburgh – London 2001, no. 83; Boston – Chicago 2003-04, no. 70; Hinterding 2006, I, pp. 99-102; Hinterding 2008, no. 83; Perlove and Silver 2009, pp. 45-50
B. 99 | NHD. 173 | ZKG. 914 Signed and dated lower left: Rembrandt f. 1639. On verso, bottom, in black chalk: B 99 – S. V (Seidlitz, state V) Basan-nytryck med rouletthorisontallinjer på stolen t.h. T 18[?]9 (reprint with horizontal roulette lines on the chair); lower right, in black chalk: avs[ändare] Vasserant (sender Vasserant) Etching and drypoint, 409 x 311 mm (sheet: 418 x 318 (top)/ 321 (bottom), state IV (V)
95