Rembrandt Harmensz. van Rijn (1606-1669), Reclining female Nude, 1658, Etching and drypoint on tissue-thin China paper, Plate: 79 x 159 mm, Sheet:80 x 160 mm, 2/6 state, Christie’s, London, The Sam Josefowitz Collection: Graphic Masterpieces by Rembrandt van Rijn – Part II, London | 5 December 2024 Sale
This rare etching emerged from life study sessions in his studio, where he and his pupils sketched directly from models. These sessions combined observation with Rembrandt’s scholarly engagement with the art of previous centuries. As one of Amsterdam’s foremost art collectors, he owned a significant collection of works on paper and closely studied pieces available on the Amsterdam art market. Scholars of Rembrandt’s legacy suggest he was likely familiar with and possibly owned prints of works such as Giulio Campagnola (c. 1482–1515)’s ‘Venus Reclining’, Hans Sebald Beham (1500–1550)’s ‘Saint John Chrysostom’, and Jacob Matham (1571–1631)’s ‘Nox’ after Karel van Mander (1548–1606). These influences are evident in his work’s classical, allegorical undertones, which he transformed into a scene of quiet intimacy.
This etching belongs to a series of works depicting women in private moments, often using the same model, including ‘The Woman at the Bath with a Hat beside Her’ and ‘The Woman with the Arrow’. The consistency in features and poses suggests a deliberate exploration of the female form over several years. Using innovative etching and drypoint on tissue-thin paper, along with dramatic chiaroscuro, Rembrandt created an intimate, atmospheric work that blends Renaissance traditions with deeply personal and emotive storytelling, confirming his role as both a scholar and innovator of art.