A few examples of appraisal values for
REMBRANDT TALL VINTAGE

• REMBRANDT VAN RIJN (DUTCH,
  REMBRANDT VAN RIJN (DUTCH, 1606-1669)Rembrandt van Rijn Dutch, 1606-1669 Portrait de Femme (Portrait of Hendrikje Stoffels) , c. 1879 Drypoint etching, identified in the plate By Karl Koepping (German, 1848-1914), printed by Alfred Salmon, matted behind glass and framed. After the portrait of Hendrikje, Rembrandt's longtime lover and mother to his daughter, Cornelia van Rijn. While the financial settlement linked to the will of Rembrandt's deceased wife Saskia prevented the two from marrying, they remained together until Hendrikje's death in 1663, during which time Rembrandt produced multiple portraits of the model. Plate: 11 1/4 x 8 3/4 in. (28.6 x 22.2 cm.), frame: 19 3/4 x 16 1/2 in. (50.2 x 41.9 cm.) Ex Iowa Wesleyan University collection Condition: Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.
• FOUR PRINTS INCLUDING WHISTLER
  FOUR PRINTS INCLUDING WHISTLER AND REMBRANDT REPRODUCTIONS, ITEMS INCLUDE: AFTER REMBRANDT, VILLAGE SCENE WITH FAMILY COLLECTING MON...Four prints including Whistler and Rembrandt reproductions, items include: after Rembrandt, village scene with family collecting money from man in doorway, signature LR, plate: 7 1/2" h. x 5 3/4" w.; after Whistler, young woman lounging and looking off to right corner, signature LL, plate: 8 3/4" h. x 5 3/4" w.; and two canal scene prints with "R" monogram within a diamond LL, larger plate: 8 3/4" h. x 5 3/4" w. and smaller plate: 6" h. x 3 3/4" h., none examined out of frame, expected light wear, toning, and foxing.
• REMBRANDT "THE RAISING OF
  REMBRANDT "THE RAISING OF LAZARUS" LARGER PLATERembrandt Van Rijn "The Raising of Lazarus: The Larger Plate" Millennium Edition / Larger Plate with Park West Gallery COA & Appraisal Image Size: 14.5 x 10 in. Overall Framed Size: 29.5 x 25.5 in. Framed behind glass. In this, one of Rembrandt?s most astonishing and powerful works, he captures the dramatic scene as Jesus commands Lazarus to ?come forth? from the dead. The figure of Jesus, seen from a three-quarter back view, is against the dark tomb wall. As Lazarus rises from the dead, Mary and Martha lean in over the edge of the tomb, their upraised hands signifying their faith and readiness to embrace their beloved brother. The faces of the onlookers express open-mouthed amazement at Jesus miracle. Rembrandt uses powerful contrasts in this work to evoke a heightened drama through his distinct use of light and shadow. Lazarus and the faces of the onlookers are bathed in the light of Christ, while the surrounding darkness symbolizes the blackness of death. Rembrandt experimented greatly and labored over this work intensely, creating no fewer than ten states or variations in the evolution of the plate. It is a perfect example of the Baroque use of chiaroscuro, the strong contrast of light and shadow, to evoke a theatrical and highly emotional image. The Raising of Lazarus was extremely well-received by his contemporary collectors and remains one of the most sought-after etchings of Rembrandts oeuvre to this day. Condition: - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. - All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
• Rembrandt etching (Rembrandt
  Rembrandt etching (Rembrandt Harmensz Van Ryn, Dutch, 1606-1669), The Angel Departing from the family of Tobias, (Bartsch 43; Hind. 185), 1641, IV state, signed in plate "Rembrandt f. 1641", etching and drypoint on laid paper, plate 4-1/16 x 6 in., page 4-1/8 x 6-1/8 in.; modern frame. Trimmed into plate at lower right edge, floated with archival tape; frame with abrasions.
• TWO PRINTS AFTER WHISTLER AND
  TWO PRINTS AFTER WHISTLER AND REMBRANDT; JAMES ABBOTT MCNEILL WHISTLER, NOCTURNE; PALACES & REMBRANDT VAN RIJN, FAUST . 8 1/4"H X 6 1/2"W (IMAGE LARGEST), 16 1/2"H X 13 1/2"W (FRAME)Two prints after Whistler and Rembrandt; James Abbott McNeill Whistler, Nocturne; Palaces & Rembrandt Van Rijn, Faust . Whistler piece is identified in pencil in the lower margin by the framer. 8 1/4"H x 6 1/2"W (image largest), 16 1/2"H x 13 1/2"W (frame) Dimensions: 8 1/4"H x 6 1/2"W (image largest), 16 1/2"H x 13 1/2"W (frame)
• Five Old Master engravings, (1)
  Five Old Master engravings, (1) variation on Rembrandt's father, signed upper right "Rembrandt f. 1637", 4-1/4 x 3-3/8 in., extensive tears ; (2) peasant with child, signed upper right "Rembrandt f. 1637", 4-1/2 x 4-1/4 in.; (3) young man in cap, signed upper right "Rembrandt f. 1637", 7 x 4-1/2 in., all in manner of Rembrandt, Dutch, 1606-1669 and do not appear in the Hind raisonne; (4) port scene with three figures in discussion, signed lower right "M.d. Vasig…", Spanish, 8-1/4 x 6-3/4 in., framed, trimmed into plate at top, tears at edges ; (5) "The Doll", family with young child reaching for a toy, etching, signed in plate lower right "A.V.O 1679" (Adriaen Van Ostade, Dutch, 1610-1685), plate 4 x 3-5/8 in., page 4-3/4 x 4-3/16 in. All with light handling grime and light toning, foxing, hinged at top. Private Collection, Hendersonville, North Carolina
• Rembrandt etching (Rembrandt Van
  Rembrandt etching (Rembrandt Van Rijn, Dutch, 1606-1669), "The Adoration of the Shepherds with the Lamp", second state, reworked upper right , signed lower left in plate "Rembrandt F.", etching on laid paper, page 4-1/4 x 5-1/16 in.; modern gilt wood frame. Light toning and foxing, trimmed close to plate, floated on silk mat; frame with abrasions. Bellette Hofmann Fine Art, New York; Private Collection, Nashville, Tennessee
• PIETER JAN DE VLAMYNCK(Belgian,
  PIETER JAN DE VLAMYNCK(Belgian, 1795-1850) original 19th century engraved copper plate after the self portrait by Rembrandt (Rembrandt with Two Circles) and titled Rembrandt/Peint par lui-mˆme. De la Collection de M. Hennessy, Echevin de la Ville de Bruxelles/D‚di‚/… l'Acad‚mie Royale des Beaux-Arts de la Ville de Bruges par son trŠs humble ‚lŠve,/P. Devlamynck, signed on plate "P. Devlamynck delt. et sculpt.", 18-1/4 x 13-1/4 in. Provenance: Humber Family, North Carolina Note: Translation: "Rembrandt Painted by himself. From the Collection of Mr. Hennessy, Alderman of the City of Brussels Dedicated to the Royal Academy of Fine Arts of the City of Bruges by his very humble pupil, P. Devlamynck" Condition: some abrasions to copper, corrosion to lower corners, damage lower left
• RARE EDITION, "LES CUIVRES DE
  RARE EDITION, "LES CUIVRES DE REMBRANDT"Les Cuivres de Rembrandt, Réimpression des Planches Originales, complete set of 80 etchings, 78 by Rembrandt, one etching by Ferdinand Bol (No. 272), one etched copy after Rembrandt (No. 200), Alvin Beaumont and Michel Bernard, editors, Paris, 1906, Imprimerie Chaponet, printer, most plates are accompanied by type written sheets commenting on the quality of the current plates and other scholarly editorial, with crayon and pencil reference numbers, cloth and paper portfolio. approximate size 17-3/4 x 12-3/4 x 2 in. Provenance: Humber Family, North Carolina Note: This volume, as well as the one sold by Brunk Auctions in October 2021, was acquired by Robert Lee Humber while he was living in Paris, France, circa 1920-1940. In 1938, Humber purchased Rembrandt’s original plates from his friend, Alvin Beaumont. According to various sources, prior to Humber’s ownership, ”Rembrandt’s copper plates were on loan to the Rijksmuseum in Amsterdam for seven years during which time Beaumont attempted to negotiate the sale of the plates to the Rijksmuseum. Beaumont also offered Rembrandt’s copper plates to the British Museum of Art, but he was unable to reach an agreement with either of these museums.” When Humber returned to North Carolina, the plates were stored and some exhibited by the North Carolina Museum of Art in Raleigh from the 1960s to 1993, when the heirs decided to sell the plates. The plates were separated for the first time and sold to a large number of private collectors, dealers, and museums, including six Dutch museums and the Bibliothèque Nationale in Paris. Eight plates remain on exhibit at the North Carolina Museum of Art, a museum Robert Lee Humber was instrumental in establishing. The history of ownership of Rembrandt's plates began in the 17th century with the artist’s friend, Clement de Jonghe. Ownership changed hands until they were purchased by Claude Henri Watelet in the late 18th century. Watelet was the first to print from these plates and these impressions are considered desirable to collectors. In the early 19th century, Henri Louis Basan purchased the plates and began the practice of printing what is called “recueils”, complete editions from the intact collection of plates. These plates were printed on demand by the Basan family and by subsequent owners into the early 20th century. In 1906, the final "recueil" was printed from Rembrandt's surviving original copper etching plates by Alvin Beaumont and Michel Bernard. These volumes, in either the 19th century or the early 20th century editions, are extraordinarily rare to find intact or even mostly intact. It is certain that many of these volumes were broken and the etchings were sold separately in the market. Only three of the Chaponet edition, or the “last recueil” can be found in libraries., the RKD, the British Library, and Bibliotheque Diderot in Lyon, France. This extraordinary volume is completely intact with typewritten notes for each impression. It is from the last owner of Rembrandt’s original plates. See: Brunk Auctions, North Carolina, October 22-23, 2021, lot 527, for the first volume offered from the Humber Estate which sold for $39,360.00 with premium. Condition: rich dark impressions, mounts and text sheets with typed French text a few glue tacked and with corresponding ink inscriptions, toning, chipping, creases, handling grime, pencil and pen inscriptions, some creases and folds, small tears, some old, small clips holding text and mounts together; portfolio with tears, handling grime, stains, scuffin, wear to corners
• REMBRANDT VAN RIJN (1606-1669)
  REMBRANDT VAN RIJN (1606-1669) LANDSCAPE ETCHINGRembrandt van Rijn (1606-1669) Landscape with a Cow Drinking etching. (ca. 1650) It is believed that, in this peaceful pastoral image, Rembrandt combined the landscape in the foreground—showing the countryside surrounding Amsterdam—with a series of mountains in the distance taken from a location hundreds of miles away. To achieve the atmospheric quality found in this etching. Rembrandt employed very delicate linework created with a fine-etching needle. Around the time of the creation of this etching plate (ca. 1650), Rembrandt’s financial status began to deteriorate and grow desperate, and he was unable to make his mortgage and tax payments any longer. Scholars often suggest that this etching and other landscapes of the period may reflect his desire to be transported to peaceful and idyllic places far away from the troubles in his life. Even centuries after his lifetime, Rembrandt’s etchings are still considered some of the finest examples of the medium. His innovations to the art of etching would go on to influence Goya, Picasso, Chagall, and generations of artists to come. Dimensions: Sheet (Timmed ): 3 7/8 × 5 1/16 in. (9.8 × 12.9 cm) Medium: Etching and drypoint; reworked by Claude-Henri Watelet; third of five states