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The Three Trees is a 1643 print in etching and drypoint by Rembrandt, his largest landscape print. It was assigned the number B.212 by Adam von Bartsch and impressions of the work are in the Rijksmuseum, the Musée des beaux-arts du Canada and the Bibliothèque nationale de France. [1] [2]
The Mill (1641, etching) The Three Trees (1643, etching and drypoint) “La Campagne du peseur d'or” (1651, etching and drypoint) Nature morte, free subjects and nudes. The Seashell (1650, etching, drypoint and burin on paper), Rembrandt's only still life. The Draftsman and his Model (unfinished, ca. 1639, etching, drypoint, and burin)
Bust of an old man with a fur cap and flowing beard, nearly full face, eyes direct: About 1631 B319: 6: Self portrait with cap pulled forward: About 1631 B343: 3: The artist's mother seated at a table, looking right: three-quarter length: About 1631 B101: 3: St. Jerome praying: arched print: 1632 B121: 3: The rat-poison peddler [The rat catcher ...
A new exhibition at the Worcester Art Museum is an expansive showcase of Rembrandt’s formidable printmaking skills. Titled “Rembrandt: Etchings from the Museum Boijmans Van Beuningen,” the ...
Rembrandt Harmenszoon van Rijn (/ ˈ r ɛ m b r æ n t, ˈ r ɛ m b r ɑː n t /; [2] Dutch: [ˈrɛmbrɑnt ˈɦɑrmə(n)ˌsoːɱ vɑn ˈrɛin] ⓘ; 15 July 1606 [1] – 4 October 1669), usually simply known as Rembrandt, was a Dutch Golden Age painter, printmaker, and draughtsman.
The drawing is related to the etching B111 : Entrance of a Cottage: c. 1633?? Kunsthalle Hamburg: The drawing is related to the etching B090 : Self-portrait: c. 1633?? Musée des beaux-arts de Marseille: The drawing is related to the etching B017 : Landscape with Two Cottages: c. 1633: Silverpoint on prepared parchment: 8.2 x 13.3 cm: Museum ...
An etching created by Rembrandt more than 350 years ago has been deemed to be too explicit for open viewing by international auction house Christie’s. “The French Bed,” drawn by the Dutch ...
Rembrandt bought a printing-press for his house in the days of his early prosperity, and continued to produce etchings (always so called collectively, although Rembrandt mixed techniques by adding engraving and drypoint to some of his etchings) until his bankruptcy, when he lost both house and press. Fortunately his prints have always been ...