Jan Lutma, Goldsmith

REMBRANDT Harmensz van Rijn (1606-1669)

Jan Lutma, Goldsmith, 1656

B. 276

Jan Lutma (1584-1669) was a celebrated gold and silversmith and Rembrandt presents him to us with the various tools of his trade: hammer and punches (in the cup), chased silver basin and silver candlestick. Lutma was the leading goldsmith in Amsterdam and his son was an etcher who may have been trained in Rembrandt;s studio. On of Jan Lutma's most celebrated commissions was the tulip beaker he made in 1652 for Nicolaas Tulp, who's anatomy lesson Rembrandt had painted at the very outset of his career in Amsterdam. The beaker was much prized by Tulp, and he left it to the Guild of Surgeons on his death.

Lutma's relaxed posture, calm face, and warm eyes seem to affirm that this was a man kind, pleasant and easy to know. Rembrandt selected the same old leather-backed chair with lion heads for two etched portraits of dignified older men, Haaring (B 274) and Tholinx (B284) done in the same year, 1656.

Adam and Eve

REMBRANDT Harmensz van Rijn (1606-1669)

Adam and Eve, 1638

B. 28

The two figures show a minimum of idealization and could pass for a pair of middle-aged nudists who have gone for a stroll in the woods. Rembrandt has probably modeled the serpent - actually a kind of dragon - on one in Durer's print of 1512, Christ in Limbo, which Rembrandt had acquired in 1638. But the figures could hardly contrast more to Durer's Adam and Eve of 1504. The elephant in the backgrounds was probably derived from one named Hansker which was brought to Holland around 1637. During that year Rembrandt did a series of drawings of the elephant. In 1638, he elected to make it the only animal in paradise.

The Descent From The Cross

REMBRANDT Harmensz van Rijn (1606-1669)

Descent from the Cross, 1633

Etching with burin

With margins signed and dated in the plate

B. 81

This is Rembrandt's first attempt at a large formal etching intended specifically for sale to the public. It shows off his amazing facility with an etching needle. The body of Christ, released from agony, is gently lowered by his friends and disciples as the sun breaks through the clouds behind them. This is Rembrandt at his most Baroque and emotional. Descent from the Cross remains on e of the foremost examples of the etcher's artistic abilities and artistic beauty. The print can be found in Museums everywhere.