Jan Lutma, Goldsmith by Rembrandt van Rijn

Rembrandt van Rijn
1606-1669 | Dutch

Jan Lutma, The Goldsmith

Etching, engraving, and drypoint on paper
New Hollstein’s second state of five
Signed and dated “Rembrandt / F. 1656” (upper center)

This monumental etching is a highly significant work by the Dutch Old Master Rembrandt van Rijn (1606–1669). It is one of nearly 300 authenticated prints that Rembrandt produced during his lifetime, demonstrating his mastery of the intaglio printmaking technique. The artist's innovative use of etching, drypoint and engraving to create a wide range of tonal effects was unprecedented during his time and revolutionized the world of printmaking.

Here, Rembrandt renders his subject, Jan Lutma, with a sliver of a smile, resting comfortably in his chair. Master gold and silversmith Johannes Lutma was a well-known figure in Amsterdam society who befriended many artists, including Rembrandt. In this sensitive portrait, the elderly craftsman is seated in an elaborate carved armchair, surrounded by the tools and creations of his trade, including a hammer and a pot containing punches along with a chased-silver bowl. 

During his lifetime, Lutma received several important official commissions, though he is best known for the tulip beaker he created in 1652 for Nicolaas Tulp, whose anatomy lesson was immortalized in a painting by Rembrandt in 1632. In 1656, Lutma recovered from a temporary deterioration of his eyesight. It is thought that he may have commissioned the print as an announcement that he was still (or again) working in the craft that had brought him fame and fortune.

Rembrandt utilizes a subtle play of warm, diffused light from the window to cast elegant naturalistic shadows across Lutma’s countenance. He added drypoint over an already dense web of finely etched lines, creating depth and dimension. By altering the direction and strength of the lines, he created subtle distinctions between the deep velvety black of his sitter’s clothing and the glow of the light filtering from the top of the room. This unique etching showcases Rembrandt’s mastery over rendering light and shadow in etching and engraving.

The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and was then enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. Rembrandt was an exceptionally gifted student and mastered his craft in a mere six months. At 22 years old, he returned to Leiden and was soon so highly regarded that he was able to take students of his own.

Though known today primarily for his paintings, Rembrandt’s fame spread outside of the Netherlands thanks to his etchings. He made hundreds of etchings over the course of his career from 1626 until 1660, the year he was forced to sell his presses. He created etchings of numerous subjects, including self-portraits, biblical subjects, saints and allegories, and his work was avidly admired and collected, even during his lifetime.

According to New Hollstein, this etching is likely the highly desirable second/third state of this rendering based on the addition of an inscription reading “F. Lutma Ex.” in the densely worked area at the lower right. Versions of this etching reside in several museums, including the Metropolitan Museum of Art in New York, the Uffizi Gallery in Florence, the Art Institute of Chicago, and more.

Etched circa 1656

Paper: 7 3/4" high x 5 3/4" wide (19.69 x 14.61 cm)
Frame: 20 1/4" high x 16 1/4" wide x 1" deep (51.44 x 41.28 x 2.54 cm)

References:
Bartsch 276
The New Hollstein Dutch 293, Second state (of V)

Provenance:
Private collection, The Netherlands
M.S. Rau, New Orleans