The Ringball Player by Rembrandt van Rijn

Rembrandt van Rijn
1606-1669 | Dutch

The Ringball Player

Etching on paper
New Hollstein’s first state of two
Signed and dated lower left: Rembrandt F. 1654

Among the foremost figures of the Old Masters, the esteemed Dutch artist Rembrandt van Rijn is often regarded as the preeminent etcher in art history. As the most significant Dutch printmaker, his body of work includes nearly 300 authenticated prints, marked by pioneering techniques that set new standards in the medium. This exceptional etching, titled The Ringball Player, exemplifies the intricate artistry and meticulous detail that distinguish Rembrandt's prints.

This print is closely related to the ones of the early life of Christ, etched in the same year, and of a similar size, using long straight hatching lines to model the figures and the background. In Rembrandt’s oeuvre, this is also one of the very rare subject matters connected with sports and leisure time. The title refers to ringball, a reference to a form of indoor croquet called beugelen, which involves a spade-like scoop. It was a popular pastime in 16th and 17th century Holland.

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 then was 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 throughout 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.

Dated 1654

Etching: 3 7/8" high x 6 3/4" wide (9.84 x 17.15 cm)
Frame: 20 1/4" high x 16 1/4" wide (51.12 x 41.28 cm)

Provenance:
Unidentified, initials fB in brown ink verso
Dr. Edward Peart (1756/58-1824)
London and Butterwick
Christie’s London, 1822, lot 77
William Benoni White, London
Christie’s London, 1879, lot 290
Sir Byron Edmund Walker, Toronto
Art Gallery of Ontario, Toronto
Private collection, The Netherlands, 2021
M.S. Rau, New Orleans

Literature
Bartsch, Adam. Catalogue Number 125. In Le Peintre graveur.
Hind, Arthur M. Catalogue Number 272. In A Catalogue of Rembrandt’s Etchings.
Nowell-Usticke, G. W. C1. In A Descriptive Catalogue of Rembrandt’s Etchings. 1967.
The New Hollstein Dutch. Catalogue Number 282: The First State (of II), Plate in Existence.