Abraham and Isaac (Bartsch 34), Etching after Rembrandt van Rijn

Name: Abraham and Isaac (Bartsch 34), Etching after Rembrandt van Rijn
Brand: The Collector
Availability: LimitedAvailability

Framed Rembrandt etching depicting Abraham speaking to Isaac who is carrying a bundle of wood - view 1

1/2

Estimated value

$200 - $800

Rarity

Average(4/10)

Type

Museum Object

ABRAHAM AND ISAAC (BARTSCH 34), ETCHING AFTER REMBRANDT VAN RIJN: IDENTIFICATION

A framed intaglio print depicting the biblical scene of Abraham and Isaac. The composition features an arched top boundary line measuring approximately 6.2 by 5.1 inches (157 by 130 mm) for the image area. A signature and date reading 'Rembrandt. / 1645.' appear in the lower-left corner. The work is executed in high-density cross-hatching, characteristic of 17th-century etching techniques. It is mounted in a modern conservation-style mat with an inner gilt fillet and displayed under glass.

Compare with other prints in the archive: Miniature Print of Rembrandt's 'The Night Watch' in Rococo-Style Frame, Old Man with a Divided Fur Cap (B. 265) - Intaglio Print, Rembrandt van Rijn (after) - A Girl Sleeping (Hendrickje Stoffels), Facsimile Print.

PRINT LINEAGE

Rembrandt van Rijn created the original copper etching plate for 'Abraham and Isaac' (cataloged as Bartsch 34 and New Hollstein 224) in 1645. The composition illustrates Genesis 22:7, capturing the psychological tension at the moment Isaac, carrying the wood, questions his father about the missing sacrificial animal. The copper plate survived Rembrandt's death and passed through the hands of successive publishers, including Clement de Jonghe in the 17th century and Pierre-François Basan in the 18th century, resulting in numerous posthumous impressions.

COLLECTOR NOTES

Rembrandt etched this narrative twice, returning to the subject in a 1655 plate (Bartsch 35) that depicts the subsequent dramatic climax where the angel physically restrains Abraham.

SCARCITY

Average55-70%

CommonLegendary

Typical antique shop fare. Requires some searching but regularly available. This is where most genuine antiques fall.

Rarity 4/10. Curiosa currently catalogues 18 prints items at rarity 4 or higher.

Typical Characteristics

Standard antique shop items
Regularly available
Moderate collector interest

Confidence Factors

Rembrandt etchings are among the most heavily restruck and reproduced prints in the global market.
Intaglio facsimiles (like Amand-Durand photogravures) produce authentic-looking plate marks and raised ink lines that mimic early strikes.
The elaborate modern framing style (gilt fillet matting) is frequently utilized by commercial galleries to market posthumous strikes or 20th-century reproductions.

Expert review recommended. Consider consulting a specialist before making purchasing decisions.

How does authenticity detection work?

PRINT SPECIALIST'S TAKE

Museum-Trained Art Historian

Connoisseur

Identification of the visual subject and plate reference is certain. However, confidence in determining whether this is a lifetime impression, a Basan posthumous pull, or a 19th-century Amand-Durand facsimile is severely limited by the glass and framing.

KEY EVIDENCE

1In-plate signature and date: 'Rembrandt. / 1645.' identifying the composition as Bartsch 34.
2Visual presence of a physical plate mark indentation along the lower edge, confirming an intaglio printing process rather than flat lithography.
3High-contrast ink deposition with no obvious plate wear (burin rework), which paradoxically increases the likelihood of a 19th/20th-century photographic facsimile.

UNCERTAINTIES

•Inability to examine the paper matrix for 17th-century period watermarks (e.g., foolscap or Strasbourg lily).
•Glass barrier prevents evaluation of ink texture and microscopic analysis of line quality required to differentiate a worn early plate from a photogravure.

WHAT WOULD IMPROVE CERTAINTY

→Unframe the piece to examine the verso for collector stamps and assess the margins.
→Hold the paper to a strong backlight to identify any period watermarks.
→Examine the inked lines under 10x to 30x magnification to distinguish between traditional acid-bitten lines and the reticulated grain of heliogravure.

CONDITION & GRADE

Very Good

Grading breakdown

Toning appears relatively even across the visible sheet. No heavy foxing, planar distortion, or obvious tearing is apparent within the sight area.

Condition

Visually appears in stable condition under modern glazing. The paper ground shows mild typical toning. An indented plate mark is visible along the lower edge. Full assessment of margins, paper matrix, and hinges is restricted by the frame.