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(after) Rembrandt etchings 

Ponts de Paris  

A small collection of etchings after Rembrandt’s originals. It is a huge puzzle to try and learn about the many fine artists who actually copied Rembrandt’s originals, created new prints “after” his examples and paintings and later editions pulled from original, sometimes restored plates.   

This collection is mainly focused on Rembrandt’s landscape plates/prints (17) although this is not handled as a hard or strict criterium: all Rembrandt designs are Great-Art and therefore desirable to have an hold. And then there are the prints created by (and after) followers, students and friends. They were sometimes later dismissed from his catalogue raisonnée but “fooled” many experts for century’s. 


Still in the middle of the learning process these prints are shared in this humble corner. 

I suggest starting chronologically: with French etcher Charles Jacques. In his wake follow the other true copyists that I’ve met along my journey and have come to my knowledge. 

Theo Beerendonck 

Pieter de With

Carl Evald Enequist

It has never been a goal: collecting Rembrandt etchings. I have no knowledge on the subject at all (just books and good taste). Besides: the “real things” are outside my financial reach anyway. They are however among the finest works of art ever created and exemplary to generations of artists. For that reason alone they can not be dismissed or overlooked. 

This humble collection of (affordable) Rembrandt etchings (copies) was assembled over the years, found and picked up along my collecting expeditions. Mostly landscapes, of good quality, but mostly without reference to edition, printer etc.. 

Criteria are, besides intuition and experience: visible thickness of printing ink (no photographical or off-set  reproductions, good paper quality, the presence of an imprint of the etching plate in the paper after its process through the press (I know: it can be faked easily) and always: at an affordable price. 

Numerous editions are known to have been printed from the original plates (sometimes after restoring, copying or “reviving” the plates) in the collections of museums:  Louvre, Rembrandt-huis etc..  Many prints look and probably are as good as the ones printed by Rembrandt himself.

All considerations concerning authenticity, quality, fake, copy, ethics, value  etc. I leave to the visitor. 

My personal and analog motivation: I prefer to hold, study and enjoy a true sized and nice copy on paper over a picture in a book or on the computer screen.   

Reichsdrückerei Berlin 

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