Rembrandt "Millennium" Edition Collection Complete Set of 8 Etchings with COA/Appraisals Start Price USD 15,000.00 Current Price USD 15,000.00 Time Left - Bid Count 0 Buy It Now Price USD 23,900.00 Reserve Price - Start Time Wednesday, May 14, 2008 End Time Saturday, May 24, 2008 Location Longmont, CO See more about 'Rembrandt "Millennium" Edition Collection' Description Rembrandt "Millennium Edition" Art Collection You are bidding on a complete set of the Millennium Edition of Rembrandt etchings, including the increasingly hard to find "The Raising of Lazarus".  These are all beautifully framed and have been in a smoke free/pet free home since purchase from a gallery.  This is an outstanding opportunity to own this outstanding and complete set of etchings. Each comes with a Certificate of Authenticity and free shipping within the US. Description of each piece follows: Raising of Lazarus The wondrous story of Lazarus inspired Rembrandt to create this masterpiece. According to the Gospel of John, Lazarus, who was a dear friend of Jesus, was critically ill. Mary and Martha, Lazarus' sisters, sent an urgent message to Jesus and requested that Jesus immediately come to Bethany and heal Lazarus. Although Jesus had performed many miracles before the raising of Lazarus, many still doubted Jesus and the power of faith in God. Jesus delayed in traveling to Bethany and Lazarus died. Jesus arrived at the tomb of Lazarus several days after Lazarus' death, and demonstrated the power and glory of God by raising Lazarus from the dead. This was the last miracle Jesus performed before His crucifixion. 1630 B., Holl.73; H.95; BB 34-2 14 1/4" x 10" plate size 17 1/4" x 12 7/8" sheet size Etching, engraving and drypoint on Ingres d'Arches off-white laid paper (watermark) with large margins. Signed (RHL van Ryn f.) in the plate, on the rock behind Christ at the center. The tenth state according to Bjorklund and Nowell-Eusticke. A 20th Century impression printed by Marjorie Van Dyke. From the 'Millennium' edition limited to 2500 examples. The Artist's Mother with her Hand on her Chest: Small Bust In this superb etching, Rembrandt captures his mother’s careworn face and tender expression as she is lost in thought, eyes cast downward. Rembrandt’s depiction of her hand on her chest indicates that the subject of her thoughts is very close to her heart. The darkly etched dress and veil on her head serve to heighten this quiet drama. The dark veil curving around her head has an angelic effect that is reinforced by the light behind it. Rembrandt made five other etchings of his mother as well as number of paintings. In this time period, Rembrandt often used family members as models. In 1589, Rembrandt's mother, Neeltgen Willemsdochter van ZuytBrouck, married Harman Gerritszoon van Rijn in reformed Peter's Church in Leiden, Holland. Rembrandt was the next to the youngest of their nine children, two of whom died in infancy. 1631 B349;11.50; BB. 31-9 3 5/8" x 2 1/2" plate size 12 7/8" x 9 3/4" sheet size Etching on Ingres d'Arches off-white laid paper (watermark) with large margins. Initialed in the plate CPO and dated "1631." The second state according to bjorklund, the seventh state according to Nowell-Eusticke. A 20th Century impression printed by Marjorie Van Dyke. From the 'Millennium' edition limited to 2500 examples.   Bust of a Man Wearing a High Cap ( Father) Art historians believe that this poignant etching depicts Rembrandt's father, Harman Gerritszoon van Rijn, a miller and owner of a windmill called "De Rijn." In this etching, Rembrandt portrays the fortitude and wisdom of his father. These qualities are reflected in the resolute jaw, earnest eyes and intent facial expression. The exotic turban and ornate coat may reflect Rembrandt's view of his father as a potentate. Rembrandt created this copper plate at the young age of 24, utilizing a fine etching needle and restrained drawing style to achieve the delicate detail and the powerful facial expression of his father. Rembrandt's father died in 1630, the same year this etching was completed. Three-Quarters Right 1630 B. 321; BB.30-F; Holl. 321 4" x 3 1/4" plate size 12 7/8" x 9 3/4" sheet size Etching on Ingres d'Arches off-white laid paper (watermark) with large margins. Signed with the initials (RHL) and dated in the plate (upper left). The second state according to Bjorklund, the sixth state according to Nowell-Eusticke. A 20th Century impression printed by Marjorie Van Dyke. From the 'Millennium' edition limited to 2500 examples. Christ and the Woman of Samaria Among Ruins   This magnificent etching depicts one of Rembrandt’s favorite biblical subjects - - the moment that Jesus revealed Himself as the Messiah to the woman of Samaria. According to the Gospel of John, Christ and his Apostles stopped in Samaria on their way from Judea to Galilee and rested by Jacob's well near the town of Sychar. While Jesus was resting alone, a Samarian woman came to Jacob's well to get water. Jesus asked the Samarian woman to give Him a drink. Jesus revealed that He was the Messiah, and told the Samarian woman that "whosoever drinketh of the water I shall give them shall never thirst and have everlasting life." In Rembrandt's interpretation of this Biblical story, Jesus and the Samarian woman are shown talking near Jacob's well with a picturesque ruin in exquisite detail drawn in the background. This story is also the subject of three of Rembrandt's paintings, a drawing and another etching. 1634 B., Holl. 71; H.122; BB 34-L 4 11/16 x 4 3/16" plate size (the plate is slightly irregular) 12 7/8" x 9 3/4" sheet size Etching on Ingres d'Arches off-white laid paper(watermark) with large margins. Signed and dated in the plate (upper right). The second state according to Bjorklund, the fourth state according to Nowell-Fusticke. A 20th Century impression printed by Marjorie Van Dyke. From the 'Millennium' edition limited to 2500 examples. Landscape with a Cow Drinking 1650   Rembrandt's genius is reflected in the simplicity of this beautiful pastoral scene. In this etching, Rembrandt combined scenery from the countryside around Amsterdam in the foreground, with a mountainous background that existed hundreds of miles from Amsterdam. To create this beautiful work of art, Rembrandt used both a fine etching needle and drypoint. The farmhouse, which probably stood in the neighborhood of Diemen, is also featured in one of Rembrandt’s drawings. Around 1650, the approximate date this copper etching plate was completed, Rembrandt's financial situation grew desperate and he could no longer make his mortgage and tax payments. This landscape etching may reflect Rembrandt's dreams of places far away from the troubles in his life. B., Holl. 237; H. 240; BB 50-I 4 1/16" x 5" plate size 12 7/8" x 9 3/4" sheet size Etching on Ingres d'Arches off-white laid paper (watermark) with large margins. The second state according to Bjorklund, the sixth state according to Nowell-Eusticke. A 20th Century impression printed by Marjorie Van Dyke. From the 'Millennium' edition limited to 2500 examples. Self Portrait Drawing at a Window In this beautiful self-portrait, Rembrandt depicts himself etching a copper plate at a table near a window. He is wearing his work clothes and not the fanciful oriental costumes, accoutrements and plumed hats of his earlier etched self-portraits. The light from the window illuminates the drawing table and Rembrandt's tender and pensive expression, while the remainder of the room is cast in darkness. This etching demonstrates Rembrandt's brilliant use of chiaroscuro to add depth and drama in this etching. Rembrandt created this etching in 1648 at the age of forty-two, after a troubled six year period during which he etched no self-portraits. During this six year period, Rembrandt's wife Saskia died, his financial situation deteriorated, and his relationship with Geertge Dircx, the nursemaid of his young son Titus, became troubled and later culminated in a court battle. This is Rembrandt's last etched self-portrait. 1648 B. 22; BB. 48-A; Holl. 22 6 1/4" x 51/8" plate size 12 7/8" x 9 3/4" sheet size Etching on Ingres d'Arches off-white laid paper (watermark) with large margins. Signed and dated in the plate (in the window sash, upper left corner). The fifth state according to Djorklund, the eighth state according to Nowell-Eusticke. A 20th Century impression printed by Marjorie Van Dyke. From the 'Millennium' edition limited to 2500 examples. The Card Player This work exemplifies Rembrandt's remarkable depiction of human character and represents a major step in Rembrandt's experimentation with the etching medium. The small shifting eyes of the young man, who may have been a pupil of Rembrandt's, depict Rembrandt's view of the persona of a card player. Until this time, Rembrandt had used drypoint to highlight textures. In this etching, he explores the richness of tonal effects by the use of drypoint and burnishes. The depth of the shadows behind the young man serves to highlight the features of the subject. This young man is also the subject of Rembrandt's etching "Man at a Desk Wearing Cross and Chain". 1641 B., Holl.136; H.190; BB 41-M 3 1/2" x 3 1/8" plate size 12 7/8" x 9 3/4" sheet size Etching on Ingres d'Arches off-white laid paper (watermark) with large margins. Signed and dated in the plate (left of the subject's face, center). The second state according to Bjorklund, the fourth state according to Nowell-Eusticke. A 20th Century impression printed by Marjorie Van Dyke. From the 'Millennium' edition limited to 2500 examples. The Golf Player The Seventeenth Century Dutch game of "kolf", which lent its name to the modern game of golf, was very popular in Rembrandt's lifetime. In this light-hearted etching, Rembrandt creates anatmosphere of a sunny afternoon golf game. A golf player is depicted pushing a ball, with two mentalking in the background and a contemplative gentleman sitting in a tavern in the foreground. Rembrandt's use of chiaroscuro heightens the contrast of a few select areas of light and shadow and brilliantly focuses the viewer's eye on the figures in this etching. In 1654, the year this etching was completed, Rembrandt's companion, Hendrickje Stoffels, gave birth to their daughter Cornelia. 1654 B., Holl 125; E. 272; BB 54-A 3 11/16" x 5 9/16" plate size 12 7/8" x 9 3/4" sheet size Etching on ingres d'Arches off-white laid paper (watermark) with large margins. Signed and dated in the plate (bottom left). The second state according to Bjorklund, the third state according to Nowell-Eusticke. A 20th Century impression printed by Marjorie Van Dyke. From the 'Millennium' edition limited to 2500 examples. Place a Bid!