Rembrandt Harmensz Van Rijn
B. July 15, 1606, Leiden, Neth. D. Oct. 4, 1669, Amsterdam
 

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The value of almost anything is based on the simple law of supply and demand. Due to the fact that Rembrandt oil paintings very rarely become available, they now fetch millions of dollars when one does surface. The only way for "mere mortals" to own a Rembrandt is through the medium of etching.

In many ways, Rembrandt's etchings are more important than his paintings, in that he revolutionized the medium that was in his day simply a copyist's tool. Rembrandt painted portraits to make money... he made etchings for his personal pleasure and to feed his creative genius. In etching Rembrandt allowed himself to create whatever he wanted without the academic restraints of the day.

During his lifetime he created approximately 350 etchings. Of these, approximately 220 plates are no longer in existence. From the remaining works, many are impossible to find as they are held in museums and private collections. After one considers how many pieces have been lost or destroyed over the past 350 years due to war, fires, floods, etc. it leaves very few etchings for the collector. This rarity creates a one-of-a-kind mentality.

These above facts justify why a Rembrandt etching could sell for as much as one million dollars, as in the case of the etching titled "Christ Crucified".

The demand for Rembrandt's works has increased significantly in the past fifteen years, and it will continue to grow with the sophistication of dealers and collectors world wide.

Humans and their things have their destiny. These copper plates, created by the great master Rembrandt, whose name rings forth a song of triumph to the artists an intense emotion, were hiding for more than two centuries in the greatest foyer of vibrant intelligence and artistic manifestations: Paris.

Under what circumstances did these magnificently executed works come to France?

One must assume that they were acquired by the editor and engraver Mariette in Holland. And then apparently passed on to his son, Jean Mariette, the famous art critic.

In the end, they belonged to Basan who, during the XVII Century, made an edition still called today by experts "The Basan Collection". His successor, the editor, Jean, reproduced them, too. And Bernard, who retook Jean's house, passed them onto his son Michael Bernard, where they were hiding until recent times, somewhat forgotten in this particularly modest and honest atmosphere of publisher and bookshop.

This historic piece is sufficient to know the authenticity of these copper plates, but we are happy to say that they are perfectly authentic after being examined by Dr. Bredius de la Haye and Mr. Moes (director of the Cabinet of Estampes).

They reappear following a fortunate circumstance, in 1906 exactly three hundred years after their illustrious author's birth, it was like an awakening of a genie.

Whereas Holland is celebrating the Third Centennial of her famous child, shouldn't we also pay homage to his memory? Publishing for his loving admirers one final edition of his wonderful plates?

Reproducing copper plate, which constitute almost a quarter of his engraved works, does it not take a great part in the commemoration of this brilliant immortal man's memory? This man, who remained strong in the adversity and misfortune, whose funerals cost only few cents of the city which radiated today of his genius.

Which museum can be so proud of such a significant unit heads of work from his Master?

The experts of old, from XVII century exerted their mystery with conscience and intelligence, so that they were respected and the important people of this time honored them or their friendship and confidence.

One of them exerted his functions as a real priesthood: Gersaint, the famous painting dealer from Notre Dame bridge, our famous national painter's friend, the one who was the most sincere interpret of the French mind: Antoine Watteau.

Before this confidant drew it up, there were none descriptive catalogue about Rembrandt's work. Before him, we could only find very incomplete notes, only showing the stamp title and the engraver's name, nothing about he composition, the state, the remarks, to inform admiring collector's.

Gersaint dreamt of filling this gap, to hoist at Rembrandt's glory a durable monument, a catalogue as complete as possible, where collectors and art lovers could find any information or description they want.

After assembling in one manuscript all his noted and studies, he died without having updated it.

However, two experts, also in love of the same subject, obtained from Gersaint's widow the agreement to publish  it in 1751 under the title of: "Catalogue of Every Pieces Forming the Work," composed by Mssr. Garsaint and updated with the assistance of Messrs. Halle and Glomy, dedicated to beautiful art lovers."

M. Houbraken acquired it during the sale of this Bourguemastre cabinet, so we can be sure that all pieces of this catalogue are from Rembrandt. To make it more complete we went to see with care the famous work in Paris, mainly the Marolle and Beringher;s one at the King's library. We found in Beringher's many rare pieces who haven't been discovered by Gersaint in the M. Houbraken's work, and also several differences.

We reproduced all this notes, and it shows how serious is the 1751 catalogue. However, more recently, the first discovery name, is rarely mentioned.

We don't doubt that Bartsch, Claussin, Charles Blanc had also found many interesting things, but hey all used the same source and profited of Gersaint, Helle and Glomy's work.

Publishing this album, we wanted to associate to Rembrandt's gory, those three experts names. That's why each print is accompanied of their describing text as in 1751. We want, by honoring their memory, to pay homage to their work.

The strong waters of the Master get today inaccessibly prices. Those that we are publishing will be the last pulling of the Basan's copper. Our album will be a work teaching and popularization. Until now, no editors had put text on print, however, it is so invaluable to the collectors, but especially to the learning art lover.

Image satisfies the eyes, gets large, joyful, and artistic emotions. But text educates, informs, and amuses by anecdotes.

During these last two centuries, several prints have undergone transformations, or suffered by the years, like Abraham France, Fautrieus's portrait or "L'Announciations aux Bergers". Some other prints have been improved. But why are they different than the others that time has not save, strongly repaired, reprinted, restored, enjoying the same veneration from admirers or artist?

Most of them are in a wonderful state of conservation like "La Christ Chassant les Vendeurs du Temple", " Le Petit Orfever", "L'ange Quittant Tobl", "Le Petite Resurrection de lazare", "Le Christ au Milieu des Docteurs", " Le Portrait de Saskia", "Rembrandt et Saskia", "Le Martyre de Saint Etienne", "Navite", "Le demier de Cesar".

From the 85 prints announced by Basan during the XVII Century, few are now reproduced here, 6 disappeared. Therefore, it is 79 pieces that are reproduced.

Outside of those 85 original prints Basan announced 35 others, most of them printed from several originals one of the famous artist, very rare originals like "Bourguemestre Six", "Tetes Orintale", "Le Paysage au Carosse".