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Overview
During his lifetime, Rembrandt's extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within, but also beyond the borders of the Netherlands. It also explains why, in later centuries, they remained affordable, although with the present intensity of the cult of Rembrandt this is no longer the case, especially for good impressions.
This is an early print by Rembrandt, dating from his early to mid-twenties, before he left his native city of Leiden to go to Amsterdam as a rising star in Dutch art. It is one of a number of figural studies of ageing men. Here we see rich, textural detail as highlighted by distinct etched lines both in a diagonal and also in softer, delicate strokes. The model's heavy coat and many years weigh down upon him as he leans against his walking stick both for support and guidance, clasping its knob. The bank itself is shaded and highlighted, and functions as the complimentary background and foil. It The seeming lack of effort applied to the facial expression is very 'Rembrandt' and is powerfully effective. His character and sentiment are conveyed through the furrow of his brow, the slight parting in his lips, and even the direction in which he faces. His unkempt beard adds a delicate touch, evening out his chin and echoing the square shape of the fur cap atop his head.
This impression is the first (of three) states of the etching, the only one where Rembrandt worked exclusively on the plate and before the continuation of the outline of the bank to the left plate mark. It is the duplicate of another first state etching in the collection (1869-0001-421), which was presented to the Colonial Museum by Bishop Ditlev Monrad. Why, it may be asked, should the National Art Gallery have purchased this print in 1972? This was because for many years, a large number of the Monrad prints had been deposited in the Alexander Turnbull Library, and it was not until the research of Victoria University art historian Mathew Norman, over thirty years later, that ownership was properly re-established and relevant prints were returned to Te Papa's collection.
References: New Hollstein Dutch 48, 1st of 3 states; Hollstein Dutch 151, 1st of 3 states
See: Masterworks Fine Arts, https://www.masterworksfineart.com/artist/harmensz-van-rijn-rembrandt/man-in-cloak-fur-cap-leaning-against-a-bank/
Dr Mark Stocker Curator, Historical International Art September 2017