Portrait of Abraham Francen, Apothecary; Rembrandt Harmenz. van Rijn
Etching and drypoint; roughly 6 x 8 inches (15 x 20 cm); In the collection of the Rijksmuseum.
Rembrandt was an absolute master of the medium of etching and drypoint — in my opinion, the greatest in the history of art. He is most noted for his etchings of religious scenes and landscapes, but he also did a number of elaborate portraits of patrons and other figures.
Though small, this is a formal portrait etching into which Rembrandt seems to have devoted a good deal of effort, almost as if it were a monochromatic painting.
The subject is described as an apothecary in most versions of the print, but is also is described in at least one as an art dealer. It’s evident that he was at any rate an art collector, as Rembrandt has certainly represented him that way. We see him casting a discerning eye on what appears to be a Chinese ink painting, while surrounded by other paintings and art objects.
The skull may be a memento mori, but the transparency of the small statuette is a bit puzzling to me, given the finished state of the remainder of the etching.
Etchings often exist as prints in several different states, printed at various points in their development.
It’s interesting to compare some of the versions of this portrait. The Rijksmusum itself has at least 12 different versions of the print (note the differences in this one), and you can find others in the collections of the Metropolitan Museum of Art, the Museum of Fine Arts Boston, the Harvard Art Museum, the Morgan Library, the Philadelphia Museum of Art, the Norton Simon Museum, the Fine Arts Museum of San Francisco and likely a number of other institutions if you care to keep searching.
I like this particular version of the print, both for it’s clarity and feeling of light, and for the simple but beautiful rendering of the window frame and the landscape beyond.
