A print by Rembrandt has surpassed the 3 million pound threshold at auction, marking a new record for ancient graphics on the international market.
Why the Rembrandt print sold by Christie’s is an absolute record
Last December 3rd in the rooms of Christie’s London, the most expensive ancient print ever sold at auction was awarded. The work, included in the third session of the sale titled The Sam Josefowitz Collection: Graphic Masterpieces by Rembrandt van Rijn, has redefined the quotations for 17th-century graphics.
The entire round totaled 8,621,579 pounds, equivalent to about 9,785,492 euros, confirming the exceptional solidity of demand. Additionally, the sales percentages almost reached totality: 99% of the total value and 98% of the lots were awarded.
Overall, the results consolidate the centrality of Rembrandt van Rijn (Leiden, 1606 – Amsterdam, 1669) in the international market of ancient graphics. The collection came from the collector Sam Josefowitz, a key figure in the systematic rediscovery of the Dutch master’s works on paper.
What is the Arnout Tholinx print that made history
The protagonist of the evening was the print with the portrait of Inspector Arnout Tholinx, executed around 1656. The sheet was sold for 3.1 million pounds (about 3.54 million euros), setting a new world record for an artist’s graphic work and, more generally, for an ancient print at auction.
The work is considered one of the most fascinating and complex engraved portraits of the 1650s. However, its extreme rarity made it long known only to a small group of collectors and scholars. The example passed at auction, probably the most brilliant among those known, was the last still in private hands.
All other known sheets are indeed preserved in important international museums. This aspect contributed significantly to the bidding race, accentuating the perception of uniqueness in the market. In this context, the figure reached appears consistent with the quality and history of the piece.
What is the collecting history of the Arnout Tholinx portrait
The December sale also assumes a strong historical value. The last documented transaction of this sheet dates back exactly 101 years ago, also in the rooms of Christie’s in London. At that time, the print was part of the prestigious collection of Edward Rudge, an English botanist and antiquarian.
Rudge had arranged for the collection to remain intact for two generations and to be dissolved only upon the coming of age of his great-grandson John Edward Rudge. In 1924, upon the fulfillment of this condition, Christie’s received two robust crates containing the lots, including the Tholinx portrait.
The December 1924 sale marked the first public appearance of the sheet as a rare “unicorn” of Rembrandt’s graphics. At the time, the work was awarded for 3,760 pounds, a then-record sum for a print. That said, the value leap recorded in 2025 highlights the growth of the segment over a century.
How is the Arnout Tholinx print technically made
The sheet is described as Arnout Tholinx, Inspector (ca. 1656; etching with drypoint on laid paper without watermark, 200 x 150 mm). The combination of etching and drypoint interventions allows for a very fine modulation of blacks and mid-tones.
According to scholars, the original print run was extremely limited, probably to a few presentation copies. Rembrandt would have personally delivered the proofs to the subject, along with the plate. Moreover, no subsequent print run was ever executed, a factor that has further increased the rarity of the work on the market.
For a comparison with other engravings by the master and their quotations, it is useful to consult the database of international auctions of ancient graphics, such as that of Christie’s for prints and multiples, which documents the main recent awards.
What did Christie’s say about the auction results?
Tim Schmelcher, a specialist in prints and multiples at Christie’s London, commented on the results of the three appointments dedicated to Rembrandt’s graphics from the Sam Josefowitz collection. He described the results as “extraordinary” for the breadth and quality of the awards.
Schmelcher emphasized how the world record obtained by Arnout Tholinx, Inspector represents a fundamental milestone for the auction house. He also highlighted how the success confirms the timeless appeal of Rembrandt’s graphics and the collecting expertise of Sam Josefowitz, capable of bringing together high-level examples.
In this context, the London auction fits into a broader revaluation of ancient graphics as an autonomous collecting segment. Compared to decades ago, the price gap between high-quality prints and paintings by the same authors tends to narrow.
Who was Arnout Tholinx in Rembrandt’s world
The portrait of Arnout Tholinx belongs to the small group of large prints made by Rembrandt in the 1650s, largely dedicated to figures from his environment. These are friends, acquaintances, and patrons belonging to affluent professional and intellectual classes, but not aristocratic.
Tholinx, inspector of the Medical Colleges of Amsterdam, was the brother-in-law of Jan Six, one of the painter’s most famous patrons. He also had close ties with the Tulp family, particularly with Nicolaes Tulp, the surgeon made famous by the painting The Anatomy Lesson of Dr. Tulp of 1632.
The engraving sheet is probably shortly after the eponymous painting of 1656 preserved at the Musée Jacquemart-André in Paris. In those years, Rembrandt was facing financial difficulties but continued to intensely experiment with the language of engraving and the expressive possibilities of portraiture.
How is the portrait presented and what image does it convey of Tholinx?
In the print, Tholinx is depicted three-quarters, seated in an armchair, surrounded by elements that recall his professional field. In front of him opens a large volume, while small medical bottles appear on the side.
Rembrandt constructs a vibrant image, rich in spatial and psychological depth. The rendering of light guides the gaze between the face, the book, and the objects, defining a concentrated study environment. Moreover, the atmosphere suggests a silent reflection interrupted by the arrival of the observer.
According to critics, the extremely limited number of copies and the absence of subsequent print runs explain the persistent aura of rarity surrounding the print. For further historical insights, the RKD – Netherlands Institute for Art History offers in-depth profiles on the protagonists of the Dutch artistic environment of the 17th century.
Why do scholars consider this print an absolute masterpiece
Scholars agree in recognizing the Rembrandt print as having exceptional quality. Stephanie Dickey calls it “the decisive product of an engraver at the peak of his art.” Similarly, Christopher White considers it “one of the most pictorial and penetrating prints” of the artist.
For art historian Ger Luijten, it is “an incomparable work.” Tholinx’s face appears as if caught in a direct encounter: the man seems to have just removed his glasses from the book and turns a vigilant, slightly irritated gaze to the viewer, activating a silent dialogue.
That said, the strength of the image does not lie solely in resemblance but in the ability to suggest the character and intellectual tension of the character. In this sense, the print anticipates psychological outcomes that will find full development in modern portraiture.
What is the role of this print in Rembrandt’s graphic journey?
In the sheet dedicated to Arnout Tholinx, Rembrandt reaches one of the peaks of his graphic experimentation. The fusion of form, light, material, and character produces an emotional impact comparable to that of large canvases, despite the reduced format.
The delicate modulations of the drypoint do not pursue photographic mimesis but guide the eye, animate the space, and suggest the texture of fabrics, the book, and the objects on the table. Moreover, the density of the marks creates an almost pictorial texture, making the print close to the master’s greatest achievements on canvas.
Overall, Rembrandt’s print ranks among the highest achievements of 17th-century engraving art. The auction result of 2025 is therefore not an isolated episode but the confirmation, also in market terms, of a masterpiece that combines rarity, formal quality, and psychological depth.
As expert in digital marketing, Amelia began working in the fintech sector in 2014 after writing her thesis on Bitcoin technology. Previously author for several international crypto-related magazines and CMO at Eidoo. She is now the co-founder and editor-in-chief of The Cryptonomist and Econique.
She is also a marketing teacher at Digital Coach in Milan and she published a book about NFTs for the Italian publishing house Mondadori, while she is also helping artists and company to entering in the sector. As advisor, Amelia is also involved in metaverse-related project such as The Nemesis and OVER.
