COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.2002.10
amicoid
CMA_.2002.10
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Prints
oty
Prints
Object Type
false
Creator Name:
Rembrandt
crn
Rembrandt
Creator Name
false
Creator Nationality:
Dutch
crc
Dutch
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1606 - 1669
cdt
1606 - 1669
Creator Dates/Places
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
Leiden
cbp
Leiden
Creator Birth Place
false
Creator Death Place:
Amsterdam
cdp
Amsterdam
Creator Death Place
false
Creator Name-CRT:
Rembrandt
crt
Rembrandt
Creator Name-CRT
false
Title:
The Blindness of Tobit: The Large Plate
otn
The Blindness of Tobit: The Large Plate
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1651
oct
1651
Creation Date
false
Creation Start Date:
1651
ocs
1651
Creation Start Date
false
Creation End Date:
1651
oce
1651
Creation End Date
false
Materials and Techniques:
etching and drypoint
omd
etching and drypoint
Materials and Techniques
false
Classification Term:
Print
clt
Print
Classification Term
false
Style or Period:
Netherlands, 17th century
std
Netherlands, 17th century
Style or Period
false
Dimensions:
Sheet: 16.3cm x 13.2cm, Platemark: 15.8cm x 12.9cm
met
Sheet: 16.3cm x 13.2cm, Platemark: 15.8cm x 12.9cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
2002.10
ooa
2002.10
ID Number
false
Credit Line:
Severance and Greta Millikin Purchase Fund
ooc
Severance and Greta Millikin Purchase Fund
Credit Line
false
Rights:
orl
<a href="http://www.clevelandart.org/museum/disclaim2.html"target="_new">http://www.clevelandart.org/museum/disclaim2.html</a>
Rights
false
Provenance:
Earl of Aylesford (Lugt 58); John Heywood Hawkins (Lugt 3022); Duke of Buccleuch (Lugt 402); [sale London, Christie's, 19-22 April 1887 lot 1777, bought by Danlos, Paris]; Alfred Strölin; [sale Klipstein & Kornfeld, Bern, 7 June 1961, lot #20 bought by C.G. Boerner]; Private Collection, Germany, 1961-91; Joseph Ritman, Amsterdam; [sale Artemis and Sotheby's, no. 19, New York, 1995]
opo
Earl of Aylesford (Lugt 58); John Heywood Hawkins (Lugt 3022); Duke of Buccleuch (Lugt 402); [sale London, Christie's, 19-22 April 1887 lot 1777, bought by Danlos, Paris]; Alfred Strölin; [sale Klipstein & Kornfeld, Bern, 7 June 1961, lot #20 bought by C.G. Boerner]; Private Collection, Germany, 1961-91; Joseph Ritman, Amsterdam; [sale Artemis and Sotheby's, no. 19, New York, 1995]
Provenance
false
Context:
The Blindness of Tobit is a deeply moving image of human frailty, faith, and the love between father and son. It illustrates the moment when Tobias, Tobit's son, nears home after collecting a debt for his father. In his hurry to reach the door to greet his son, Tobit overturns his wife Hannah's spinning wheel and stumbles against Tobias's dog, who ran ahead to announce the imminent arrival of the travelers. Tobit gropes with his outstretched right arm for the door, which, pathetically, he misses.Rembrandt was particularly interested in the Book of Tobit, an apocryphal book of the Old Testament which inspired about fifty-five drawings, etchings, and paintings spanning the artist's career. For this impression, Rembrandt used his fingers to manipulate a very fine layer of pale transparent ink left on the surface of the plate, leaving one small area, Tobit's beard, clean of ink. He rendered the ordeal of the poor and pious Tobit with a poignant eloquence.
cxd
The Blindness of Tobit is a deeply moving image of human frailty, faith, and the love between father and son. It illustrates the moment when Tobias, Tobit's son, nears home after collecting a debt for his father. In his hurry to reach the door to greet his son, Tobit overturns his wife Hannah's spinning wheel and stumbles against Tobias's dog, who ran ahead to announce the imminent arrival of the travelers. Tobit gropes with his outstretched right arm for the door, which, pathetically, he misses.Rembrandt was particularly interested in the Book of Tobit, an apocryphal book of the Old Testament which inspired about fifty-five drawings, etchings, and paintings spanning the artist's career. For this impression, Rembrandt used his fingers to manipulate a very fine layer of pale transparent ink left on the surface of the plate, leaving one small area, Tobit's beard, clean of ink. He rendered the ordeal of the poor and pious Tobit with a poignant eloquence.
Context
false
Related Image Identifier Link:
CMA_.2002.10.tif
ril
CMA_.2002.10.tif
Related Image Identifier Link
false