Rembrandt Harmensz. van Rijn

Etching with engraving and drypoint, circa 1652, a very fine 'black sleeve' impression of the only state, printing with rich, velvety burr on Christ's robe and sleeve of man at left, on china paper

Ex coll. British Rail Pension Fund, Sotheby's London, 29 June 1987, lot 66 (£42,900)

With narrow margins, in good condition apart from slight paper disturbances at upper corners (with possible repairs?), a soft central vertical printer's crease through lower part of sheet (verso), only showing through the platform (recto), unframed.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The name given to this print, 'La Petite Tombe' was first given by Gersaint and based on a misunderstanding of the description given in Clement de Jonghe's inventory, which probably referred to a member of the La Tombe family.

Rembrandt enriched the details of this subject with liberal touches of drypoint, producing an effect of great subtlety. In early impressions, the burr created by this technique appears strongly on the sleeve of the man standing at far left in the foreground. These are known as 'black sleeve' impressions, of which this is a fine example. In later 'white sleeve' impressions, the rich burr disappears.