After Rembrandt: reconsidering restrikes, reworkings and copies in New Zealand’s public collections

Tuhinga 32: 152-188

ABSTRACT: Rembrandt van Rijn (1606–69) is one of the most renowned printmakers in history. Although New Zealand public collections have acquired an estimated 118 genuine Rembrandt prints since 1869, they have been subject to little academic investigation and are often viewed through the lens of the artist’s printmaking practices. While valid, such investigations have consequently overlooked the history and significance of restrikes and reworkings, produced from his copperplates by other intervening hands, as well as copies of his prints. This article considers this subgenre, focusing on New Zealand holdings. It also questions how to best understand these works, and their relationships with ‘original’ impressions wholly executed by Rembrandt.

KEYWORDS: Rembrandt van Rijn, reworkings, restrikes, copies, authorship, authenticity, printmaking, etchings, Bishop Ditlev Monrad, Sir John Ilott.