Rembrandt Harmensz. van Rijn
Der kleine Coppenol, Schreibmeister
Artist
Rembrandt Harmensz. van Rijn
1606 Leiden - Amsterdam 1669
Further information
Bartsch 282 White/Boon 282 IV (of VI); Hinterding/Rutgers (The New Hollstein) 305 IV (of VII).
Provenance
Duplicate of the Albertina, Vienna, verso with the collection stamp (Lugt 5g);
With P. & D. Colnaghi & Co., London (with their stock number C. 13698 in pencil verso).
With P. & D. Colnaghi & Co., London (with their stock number C. 13698 in pencil verso).
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Description
A very fine lifetime impression of the extremely scarce fourth state, with the addition of the triptych ("Possibly not by Rembrandt"), with rich drypoint burr. Trimmed c. 2 cm into the white strip at the bottom. On three sides with a fine margin around the platemark.
The painting depicts the writing teacher Lieven Willemsz. van Coppenol, who lived in Amsterdam from 1599 to 1667 and worked as a writing master at the French school on the Singel. He was a great master of calligraphy and travelled throughout Holland to demonstrate his art.
A central concern of Rembrandt’s late work is the deepening of expressive content. His interest lies less in social representation than in capturing the inner reality of the sitter. This is particularly evident in the small Coppenol etching: the restrained composition directs the viewer’s attention entirely to the expression of the face. The focused gaze and the positioning of the head suggest a vivid yet controlled presence – a physiognomic study that prioritises psychological truth over outward representation. – Vertical repaired tear in bottom right quadrant, verso with faint pencil notation in places, otherwise in very good condition.
The painting depicts the writing teacher Lieven Willemsz. van Coppenol, who lived in Amsterdam from 1599 to 1667 and worked as a writing master at the French school on the Singel. He was a great master of calligraphy and travelled throughout Holland to demonstrate his art.
A central concern of Rembrandt’s late work is the deepening of expressive content. His interest lies less in social representation than in capturing the inner reality of the sitter. This is particularly evident in the small Coppenol etching: the restrained composition directs the viewer’s attention entirely to the expression of the face. The focused gaze and the positioning of the head suggest a vivid yet controlled presence – a physiognomic study that prioritises psychological truth over outward representation. – Vertical repaired tear in bottom right quadrant, verso with faint pencil notation in places, otherwise in very good condition.