Rembrandt Harmensz. van Rijn

Clement de Jonghe (1624/25-1677) by 1679, inventory no. 44;
Henri-Claude Watelet (1718-1786), Paris;
Pierre-François Basan (1723-1797), Paris;
Henri-Louis Basan (d. before 1819), Paris;
Auguste Jean, Paris by circa 1810;
By descent to his widow;
From whom acquired by Auguste Bernard, Paris, 1846;
To his son Michel Bernard, Paris;
From whom acquired by Alvin-Beaumont, Paris;
From whom acquired by Robert Lee Humber, in 1938, Paris and later North Carolina:
Sold by his estate through Artemis Fine Arts, London and R. M. Light, Santa Barbara;
Private collection, The Netherlands

A.C. Coppier, Les eaux-fortes de Rembrandt, Paris 1917, p. 132;
E. Hinterding, The history of Rembrandt's copperplates, with a catalogue of those that survive, Zwolle 1995, p. 48.

Copper plate: the plate is in the condition one would expect from repeated printing. as with all the plates from the Humber collection, it has been varnished and mounted but overall the condition is good. Etching: the etching is printed on a sheet of sturdy 19th century paper. there is a diagonal crease that extends from the middle left edge to the upper center edge of image and into margin above. there is a tiny loss near lower right corner. there is some surface abrasion and pale foxing, the latter visible mainly in the margins. other minor defects.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Given the popularity of Rembrandt's etchings it is not surprising that his printing plates were highly sought after.  The present work is one of a group of 78 copper plates that remained together from the time they left Rembrandt's possession until their dispersal in 1993.  Until recently the owners were all publishers who used them to print new editions of the etchings.  Over time this entailed reinforcing some of the lines and adding new work to compensate for wear.  However, when the Humber estate came on the market, it became clear that  the plates were regarded as important aesthetic works in their own right.  Museums and private collectors clamored for them, in many cases paying more than a fine lifetime impresson of the corresponding etching would have fetched.  Since then very few have appeared on the market.  St. Jerome in a Dark Chamber is one of Rembrandt's richest and most tonal subjects.  He covered the copper with dense hatchiing leaving only small window above to provide some light for the contemplative saint who sits with his head in his hand gazing at his text.

This copperplate is being sold with a posthumous impression of the etching.