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Full text of "Exhibition of the etched work of Rembrandt, and of artists of his circle, together with engravings, etchings, etc., from paintings and sketches by him. Principally from the collection of Mr. Henry F. Sewall, of New York. April 26 to June 30, 1887"

Art Lib, 
XI 

513 



5EUM OF FINE ARTS. 



mm 



PRINT DEPARTMENT 



EXHIBITION 



■i IE ETCHED WORK OF REMBRANDT, 



AND OF ARTISTS OF HIS CIRCLE, 



iGETHER WITH ENGRAVINGS, ETCHINGS, ETC., FROM PAINTINGS 
AND SKETCHES BY HIM. PRINCIPALLY FROM 
THE COLLECTION OF 

Mr. henry F. SEWALL, 

I, 

i Of New York. 



APRIL 26 TO JUNE 30, 188T. 







"V 



BOSTON: 

PRINTED FOR THE MUSEUM BY ALFRED MUDGE & SON, 

24 Franklin Street. 



1887. 



THE PRINT DEPARTMENT 

of the Museum of Fine Arts comprises the Gray Collection 
(about 6,000 prints), deposited by Harvard College ; a collection 
of engraved portraits, etc, bequeathed by the late Charles 
Sumner; a collection of etchings by Jacque, Whistler, and 
Haden, deposited by the Boston Athenaeum ; several thousand 
prints presented by Mr. George W. Wales, including a com- 
plete set of the Arundel Society's publications ; a small col- 
lection of engravings by the late John Cheney and other 
American engravers, presented by Mrs. Ednah D. Cheney; a 
fine collection of proofs of American etchings and wood en- 
gravings, many of them signed, presented partly by the artists 
themselves, partly by the Century Company and other publish- 
ing houses; and divers other engravings and etchings, the 
gifts either of the artists or of other friends of the institution, 
the whole constituting at present a collection (constantly grow- 
ing) of about ten thousand prints. 

The Sumner portraits and a few other engravings from the 
Sumner bequest are displayed permanently in frames hung 
above the wall screens in the First Print Room. Exhibitions 
of prints, ancient and modern, are arranged in the First and 
Second Print Rooms, and are frequently changed. The prints 
not on exhibition can be seen on application to the curator, who 
is in attendance on Tuesdays and Wednesdays. It is advisable, 
however, to apply for an appointment, either personally or by 
letter, at least one week in advance. This is suggested for the 
convenience of visitors. The rules governing the Gray Collec- 
tion requiring that no one but the curator be allowed to handle 
the prints, he must give personal attention to each visitor, and 
must, therefore, have time to arrange appointments so that they 
may not interfere with one another. 

Persons specially interested in prints are requested to send 
their names and addresses to the curator, so that they may be 
notified of the (>pening of exhibitions, new acquisitions, etc. 

Address all communications to The Curator of the 
Print Department, Museum of Fine Arts, Boston, Mass. 

/ 



MUSEUM OF FINE ARTS. 

PRINT DEPARTMENT. 



EXHIBITION 



OF 



THE ETCHED WORK OF REMBRANDT 

AND OF ARTISTS OF HIS CIRCLE, 

TOGETHER WITH ENGRAVINGS, ETCHINGS, ETC., FROM PAINTINGS 

AND SKETCHES BY HIM. PRINCIPALLY FROM 

THE COLLECTION OF 



Mr. henry F. SEWALL, 

Of New York. 



APRIL 26 TO JUNE 30, 1887. 




BOSTON: 

PRINTED FOR THE MUSEUM BY ALFRED MUDGE & SON, 

24 Franklin Strebt. 

1887. 



Digitized by tine Internet Arcliive 

in 2007 witli funding from 

IVIicrosoft Corporation 



littp://www.arcliive.org/details/exliibitionofetGliOOmuseiala 



«^r' SRCF 



INTRODUCTION. 



It is now ten years since the Burlington Fine Arts 
Club, of London, opened (in May, 1877) its celebrated 
second exhibition of Rembrandt's etchings, — an exhibition 
which still holds a place in the memory of all who are 
interested in the great master, as a source of pleasure to 
those who were fortunate enough to see it, as a source of 
regret to those who were denied that advantage. The 
aim of this exhibition was twofold : Firstly, to afford to 
the visitor an insight into the development of the artist, to 
trace his progress step by step from early beginnings to 
the culmination of his powers ; secondly, to bring together 
the evidence needed to decide the question, to what extent 
Rembrandt's own work had been alloyed with that of 
others. It is easily seen that the first of these aims could 
only be reached by a chronological arrangement of the 
etchings executed by or attributed to Rembrandt. At the 
same time, the chronological arrangement would aid also 
in the attainment of the second aim, for in the sifting-out 
process, which must necessarily be one of comparison, a 
knowledge of the various stages passed through by the 
reputed author of all these works must self-evidently be of 
great importance. Mr. Francis Seymour Haden, the well- 
known etcher, took the principal part in the arrangement 
of the exhibition, as well as in the discussion which ac- 
companied it. It was, indeed, his influence which shaped 
the exhibition in its essential features, and his theories 
regarding the authorship of the etchings in question were 
set forth at length in the introduction to the catalogue of 
the exhibition. That catalogue, owing to the exclusive 
policy of the Burlington Fine Arts Club, is unfortunately 
unobtainable, but the introduction was published by Mr. 
Haden as a pamphlet, both in English and in French. 



143 






IV INTRODUCTION. 



The present exhibition has been arranged with a view 
to furnishing to Rembrandt students in America similar, if 
not the same, facilities which were furnished to these stu- 
dents in Europe by the London exhibition. But a some- 
what difficult question presented itself at the outset. There 
are two chronological lists of Rembrandt's work extant, — 
an older by Mr. C. Vosmaer, the author of " Rembrandt, sa 
Vie et ses CEuvres " ; a second, based upon the system 
adopted at the exhibition of the London club, by Mr. 
Charles Henry Middleton, author of "A Descriptive 
Catalogue of the Etched Work of Rembrandt Van Rhyn." 
Mr. Middleton's list is very precise, assigning each etching 
to a distinct year, and thus very inviting as a clean-cut 
piece of work, undisturbed by doubt or indecision. Mr. 
Vosmaar, on the other hand, often wavers and hesitates to 
lay down his opinions as the law j sometimes, indeed, pre- 
fers to have no opinion at all. It was this comparative 
modesty which finally commended his list. There is 
something repelling in the audacity with which the author 
of the *' Descriptive Catalogue " assigns each print to its 
particular year, and sometimes even undertakes to date the 
various states, and, still more incomprehensibly, the 
various parts of one and the same plate. Mr. Vosmaer's 
reasons for his decisions are, indeed, not always apparent ; 
he is clearly in error sometimes, and occasionally he mis- 
reads a date, but similar objections may also be urged 
against Mr. Middleton. There is, moreover, this to be 
said for Mr. Vosmaer, that he leaves the student more 
liberty of thought and of action than his English competi- 
tor. Finally, by adhering to Mr. Vosmaer's chronology,^ 
the exhibition becomes illustrative of his admirable 

' As an additional help in fixing the presumable dates of Rem- 
brandt's etchings, as well as in deciding the question of authen- 
ticity, the monograms, signatures, and figures found on the plates have 
not as yet been taken fully into account. If that were the case, Mr. 
Vosmar might, perhaps, have assigned some of the plates differently, 
as for instance, " The Bathers," No. 35 of this catalogue, the signature 
upon which certainly argues (as does also the work) for the later date. 
It is a strange fact that the monograms on Rembrandt's earlier plates 
have so far been misinterpreted by all cataloguers. Mr. Blanc prides 
himself upon having discovered that many of these monograms read 
KH (Rembrandt Harmenszoon), instead of Rt (Rembrandt), as in- 



INTRO D UCTION. 



book on Rembrandt, or the latter may serve as a text-book 
for the exhibition, and this is an advantage not to be 
ignored. 

As to Mr. Haden's theories concerning the authenticity 
of some of the plates attributed to Rembrandt, these can 
easily be tested by those desiring to do so by the aid of 
this exhibition, as a number of the plates by Van Vliet, 
Bol, and Lievens, mentioned by him in his " Monograph," 
are shown in it. How far these theories are sustained by 
the test, cannot be discussed here. Mr. Haden himself, 
in the prefatory " Note " to his second edition, admits that 
he has gone too far, or has at least ventured too much into 
detail as to the various etchers possibly involved. But it 
is clear that all the work which still goes under Rembrandt's 
name cannot be by him, or cannot now be in the condi- 
tion in which he himself left it. 

The desire to make the exhibition as complete as possi- 
ble, to put the visitor in possession of as many as possible 
of the facts which he may need to enable him to arrive at 
an independent judgment, has led to the admission of a 
number of photogravure reproductions, not, indeed, in 
themselves very satisfactory, but still valuable as parts of 
a whole, where the originals themselves were not attaina- 
ble. The proportion which these reproductions bear to 
the whole number of prints catalogued is, moreover, com- 
paratively small. 

The question as to what shape the catalogue should take, 
presented another difficulty. No doubt, for popular use, 
it would have been desirable to give explanations of the 
subjects, and biographical data concerning the persons 
represented, and to explain the differences which constitute 

terpreted by earlier writers, and accordingly uses in most cases a 
combination of these letters, specially cut for his book, in the descrip- 
tions which he gives. But the monogram of this shape is of very 
rare occurrence on Rembrandt's etchings, the usual form being clearly 
a combination of RHL, in script. Dr. W. Bode (" Rembrandt's 
friiheste Thatigkeit") was the first to point this out, and to suggest 
the interpretation, " Rembrandt Harmenszoon Lugdunensis," — an in- 
terpretation which is borne out by the fact that this monogram dis- 
appears after Rembrandt's removal from Leyden to Amsterdam. In 
the present catalogue the monograms and signatures have been care- 
fully noted, so far as that can be done without giving fac-similes. 



VI INTRODUCTION. 



the various " states." But that would have involved the 
reprinting bodily of some one of the older catalogues, or 
rather the construction of a new one from the materials 
furnished by the older, — obviously an impossibility for a 
variety of reasons, one of which it will be sufficient to state, 
to wit, the bulk and expense of such a catalogue. It was 
thought best, therefore, to give only such tacts as are 
needed for an easy identification of each print, and the 
reference to the principal among the more extended cata- 
logues. To these facts have only been added a few notes 
directing attention to the theories advanced touching the 
authenticity of some of the plates ; correcting obvious mis- 
takes and supplying omissions in the recognized cata- 
logues ; and occasionally expressing an opinion calculated 
to call upon the visitor to exercise his own independent 
judgment. For, in truth, the exercise of such judgment is 
sadly needed in this matter, which has been densely ob- 
scured by tradition and untrustworthy " authority." As it 
stands, the present pamphlet is a Complete Short Catalogue 
of the Etched Work of Rembrandt., according to Blanc and 
Vosmoer, even those pieces having been enumerated in it 
which could not be shown, but which are mentioned by the 
writers named. 

In the attempt to establish the " states " of the prints 
exhibited, Mr. Middleton has generally been followed, 
although he has been accused of unnecessarily multiplying 
states, and his book has been generally condemned (by 
Mr. Haden) as "disingenuous and unreliable." It, never- 
theless, contains much that is not to be found in the older 
books, and is pretty closely adhered to, with occasional 
divergences, by Mr. Dutuit, in his luxurious Rembrandt 
catalogue, which is the latest work upon the subject. The 
tendency to unnecessarily multiply states is common to all 
catalogue makers, and the evils growing out of it are occa- 
sionally referred to in the notes in this catalogue. It must 
be acknowledged that the question of " states " is a difficult 
one, and yet a necessary evil, so long as prints are objects 
of commerce, and therefore of money value, and so long as 
the " connoisseur " of the ordinary kind is more of a curi- 
osity hunter than an intelligent appreciator of art. It is to 
be hoped that in the good time coming, trial proofs will 



INTRODUCTION. Vll 



no longer be described as states, and press scratches and 
differences in printing will be recognized for what they 
are. Until then will it be in vain to look for really intelli- 
gible descriptions and for the absence of contradiction 
among the cataloguers, and until then, also, the ideal Rem- 
brandt catalogue will have to remain unwritten. 

It would seem almost as if, with the facilities for study 
and comparison now offered to the student, the advance 
must be rapid, and the settling of disputed questions could 
not be difficult. Books like those of Blanc and of Dutuit, 
and the reproductions by Amand-Durand (unfortunately 
not available in the preparation of this exhibition), are 
undoubtedly valuable, but for detailed study they are, 
nevertheless, unreliable. The photogravures in Blanc's 
book may, perhaps, claim to be reliable as far as they go, 
as they have been left unretouched, but for that very reason 
they are often uncouth to look at, and sin by omission. 
Besides, the process used, involving biting with acid (as 
far as known), is naturally liable to produce unlooked-for 
effects, and rudeness of line where it may be out of place. 
Such plates, on the other hand, as those in Dutuit's book, 
are more attractive to the eye, having been retouched. 
This, however, makes them still more unreliable (see No. 
83, note, of this catalogue), and when it comes to the imi- 
tation of dry-point by roulette work, the distortion is com- 
plete. For the illustrated catalogue of the future, there- 
fore, with purely practical aims, photogravure seems out of 
the question, and the simple photograph, at its best, much 
to be preferred. This catalogue of the future, further- 
more, will have to aim at the reproduction of nothing 
but first states {not trial proofs, however), in contradis- 
tinction from Blanc's and even from Dutuit's catalogue, 
which in most cases reproduce late, and sometimes very 
late states. 

The mention of states naturally enough brings up the 
inquiry as to the quality of the present exhibition. It may 
be admitted at the outset that it cannot rival the London 
exhibition in Hundred Guilders in the First State (see Mr. 
Haden's "Monograph," pp. 2 and 3), or Rembrandts with 
the Sabre ; that there are in it no ThoHnxs (except in 
reproduction); no Buenos with the Black Ring (but a fine 



VIU IMTRODUCTION. 



one with the white ring, see No. 244); no Old Harings and 
Turned-up Hats and Embroidered Mantles with "inesti- 
mable dates and griffonneme?its'' — only the impressions 
usually met with, and many of them in late states. But 
there are in it, nevertheless, some fine impressions, and as 
to the states, it must be recollected that in some cases the 
earlier so-called states are really trial proofs, and that in 
many others they are almost unprocurable, so that, as has 
already been mentioned, even Blanc and Dutuit have had 
to content themselves with reproducing later states, and 
occasionally states later than those shown in this exhibi- 
tion. 

To students of various stages of progress and of various 
aims, the material offered to increase their knowledge is 
ample. Those curious about states, and the distinctions 
which constitute them, will find what they seek in Nos. 69, 
83,92, 102, 105, 107, 158, 163, 182, 209,248, 251,269, 
276, 284, 285, 299, etc. ; proof and counterproof may be 
compared in Nos. 86 and 225 ; the diflference between 
an impression " showing plenty of bur," and another with 
the bur all gone, is especially well seen in No. 280 ; the 
deterioration of a plate by wearing may be observed in 
such examples as Nos. 114, 243, and 269. For technical 
study, nothing more attractive and instructive, and at the 
same time more difficult and puzzling, can be conceived 
of than an exhibition of Rembrandt's work. Never was 
there an artist better skilled, more audacious, and more 
successful in the use of all the means of which he had 
knowledge. Needle and acid, the dry-point, the graver, 
and the tricks of printing (except the modern device of 
retromsage) he used separately or in combination as he 
listed, and always with an harmonious and felicitous result. 
Even the graver (which, however, to speak quite correctly, 
he never used separately, but only for emphasizing and 
finishing), he handled with an unconventional freedom that 
made it match perfectly the unconcern of the point. (See 
some remarks on the use of this instrurtient by his followers 
under Nos. 454 and 464.) As examples of pure etching 
Nos. 2 10 and 260 may be pointed out ; pure dry-point work is 
seen in Nos. 165, 277, 299, 300, and probably also in No. 
243 ; the combination of etched work and dry-point is 



INTRODUCTION, IX 



exemplified in such widely differing works as Nos. 263 and 
269; in the production of No. 167 the graver has evi- 
dently had a share, together with the other means familiar 
to the artist. But when it comes to such elaborate work 
as No. 253, what shall we say? Did the acid do any of 
the work ? Or is it dry-point throughout, strengthened 
here and there by the graver ? Of the artifices in printing, 
the exhibition shows nothing, except in Nos. 318 and (in a 
manner too obvious to be attributable to Rembrandt him- 
self) 103. To see some of the finest effects attained by 
the artist by these means, American students are compelled, 
for the present, to go to the collection of Mr. Theodore 
Irwin, of Oswego, N. Y. 

The main interest of the exhibition for the larger public 
will be found, however, — and quite legitimately, — in 
its autobiographical character. Rembrandt was born at 
Leyden on July 15, 1607 \ he was buried Oct. 8, 1669, in 
the Westerkeric at Amsterdam. The earliest date upon his 
etchings is 1628, before he left Leyden; the last date found 
on his plates is 1661. All his etched work embraced 
within these dates is here, and the record is extended even 
further by the engravings, etc., executed from his paintings 
and sketches, which carry us from 1627, the earliest known 
date upon any painting by him, to within one year of his 
death. A survey of the exhibition makes it clearer than 
any amount of reading could do it, that Rembrandt was 
indeed the first artist who may truly be called modern. 
For not only is he a realist of the realists, but what makes 
him still more modern is his intense subjectivity. 

It would be impossible, indeed, to bring together such 
another exhibition, from the hands of another artist, offer- 
ing a similar personal interest. Like the pages of an 
autobiography, it lays bare to the attentive visitor every 
step forward, every transformation of fortune, even the 
varying moods of him who left it behind. Some of the 
entries, no doubt, are enigmas ; others are evidently fraud- 
ulent interpolations, but enough of it is clear and intel- 
ligible, and authoritative beyond questioning, to tell the 
story. And it is essentially a sad story, however instruc- 
tive, — showing how even he, the great manipulator, began 
timidly with the brush as well as with the point, — not 



IN TROD UCTION. 



forgetting here the superb little portrait of his mother 
(No. 4) which stands at the beginning as a prefiguration 
of what was to come after, — and how the freedom of his 
later years was the outcome only of the practice that went 
before, — exhibiting him to us in the pride and triumph of 
his youth, fond of show, ready to avail himself of the help 
of others, rejoicing in the possession of Saskia, whose 
radiant face smiles ever and anon upon us out of his work, 
and then overwhelmed by misfortune, growing more sullen, 
more sombre, more audacious, but still a giant in concep- 
tion, and untiring of work, showing us, too, the place once 
occupied by Saskia filled by the coarse woman who seems 
to have been the companion of his later days, until we lose 
sight of him altogether, and the light is quenched in dark- 
ness. (See, however, Vosmaer, pp. 358 and 372.) 

It remains to give thanks to those who have made this 
exhibition possible, first of all to Mr. Henry F. Sewall, of 
New York, from whose rich collection — the richest in 
Rembrandts, and the most complete, historically, of all the 
private collections of the United States — by far the larger 
part of the prints shown has been drawn. Acknowledg- 
ments for assistance given are due also to Dr. H, C. 
Ahlborn, of Boston, and Messrs. H. Wunderlich & Co., 
of New York (for the loan of Blanc's and Dutuit's works, 
neither .of which, unfortunately, is owned by the Musevim), 
to Mr. Chas. Henry Hart, of Philadelphia, to Mr. Edward 
VV. Hooper, of Cambridge, Mass., and to Mr. Edward 
Robinson, of Boston. 

The painting, " Danae and Jupiter " (?), kindly lent by 
Mr. Francis Brooks, forms an interesting supplement to 
the exhibition. It is mentioned in no list of Rembrandt's 
works, and Mr. Vosmaer says: "I know of no painting 
bearing the date of 1652." That is precisely the date upon 
the canvas here shown. In its wealth of coloring it vividly 
recalls the words used by Mr. Vosmaer in describing another 
picture by Rembrandt, '* The Toilet of Bathseba," dated 
1643 • "The hannony of the tints and of the general tone 
is of great beauty. A color of bronze or of gold, inter- 
woven with shades of violet, of brown, of green, and of 
yellow ochre, envelops the whole in a scale at once warm, 
poetical and mysterious." It appears to best advantage 



INTRODUCTION. XI 



in a strong light, thus bearing out Rembrandt's instructions 
concerning another of his works. " Hang this picture in 
a very strong light," he writes to Constantin Huijgens, 
under date of January 27, 1639, "and so that it can be 
seen at a distance. It will do best that way." The two 
copies of portraits form part of the collections of the 
Boston Athenseum, deposited with the Museum of Fine 



Arts. 



S. R. KOEHLER, 
Curator of the Print Dept. 



As a text-book for the exhibition, Vosmaer's Rembrandt, 
sa Vie et ses CEuvres, 2d ed,. The Hague : 1877, is rec- 
ommended. 

Mr. Haden's theories will be found in The Etched Work 
of Rembrandt. A Monograph, new ed., London : 1879. 

The catalogues referred to in this catalogue are : 

Blanc, Charles, L'CEuvrede Rembrandt, i vol. and plates, 
Paris : 1880. 

Bartsch, Adam, Catalogue Raisonne de toutes les Estampes 
qui forment Poeuvre de Rembrandt^ etc. 2 vols., Vienna: 
1797. 

[Wilson, Thomas,] A Descriptive Catalogue of the Prints 
of Rembrandt. By an Amateur. London: 1836. 

Middleton, Charles Henry, A Descriptive Catalogue of 
the Etched Work of Rembrandt Van Rhyn. London : 
1878. 

Dutuit, Eugene, Z' CEuvre Complet de Rembrandt. 2 vols., 
supplement, and plates, Paris: 1883. 

Claussin, Le Chevalier de, Catalogue Raisonn^ de toutes les 
Estampe qui forment I'oeuvre de Rembrandt, etc., Paris : 1824. 
Supplement. Paris: 1828. (The supplement is referred 
to for the work of the artists belonging to Rembrandt's 
circle.) 

For a short general account of etching in Holland un- 
der Rembrandt's influence, see S. R. Koehlerj Etching 
(Chapter VI), New York : 1885. 



Xll INTRODUCTION. 



To find in this exhibition any etching by Rembrandt, 
according to the numbers of Blanc, Bartsch, Wilson, Mid- 
dleton or Dutuit, refer to the " Finding List " on p. 8i, 

The " Visitor's Guides," placed upon the stands in the 
First and Second Print Rooms, will be found convenient 
whenever it is desired to locate a special number in this 
catalogue in the cases. 

The abbreviations used in the following pages hardly 
need an explanation : B. stands for Bartsch ; Bl. for 
Blanc ; CI. for Claussin ; Du. for Dutuit ; M. for Middle- 
ton ; R. for Rembrandt ; V. for Vosmair ; W. for Wilson. 

Right and left, when speaking of prints, are always un- 
derstood as relating to the reader ; that is to say, right 
means that part of the print at his right hand, etc. 



CONTENTS. 



Introduction 

Rembrandt's Etchings, arranged in chronological order 
according to C. V^msr's list (Nos. i to 

319) 

Pieces not classified by Vosmasr (Nos. 320 to 339) 
Pieces rejected or omitted by Vosmaer (Nos- 340 to 

361) 

Etchings, Engravings, etc., executed from paintings and 
sketches by Rembrandt, arranged in chronological 

order (Nos. 362-425) 

Etchings executed by artists belonging to Rembrandt's 
circle : — 

Pieter Lastman (No. 426) 
Salomon Savry (Nos. 427 and 428) 
Salomon Koninck (No. 429) . 
M. Roddermondt (Nos. 430 and 431) 
J. J. Van Vliet (Nos. 432 to 436) . 
Ferdinand Bol (Nos. 437 to 449) . 
Jan Lievens (Nos. 450 to 468) 
Oil Paintings (Nos. 469 to 471) 
Finding List 



Page 
iii 



59 



61 



64 



73 
73 
74 
74 
75 
76 

n 
80 



FIRST PRINT ROOM. 



REMBRANDT'S ETCHINGS, 

ARRANGED IN CHRONOLOGICAL ORDER ACCORDING 
TO C. VOSMAER'S LIST. 



1. St. Jerome in Meditation. — Bl 77; B 149; W 
147 ; M 176; Du 145. — Assigned to before 1628 by V., 
to 1629 by M. 

One state only. Shown in photogravure. From Bl.'s J?, 

In his list V. places this print in the year 1629, but in the text of his 
" Rembrandt " (2d ed., p. 87) he gives it as his opinion that it and the 
following piece are anterior to the etchings of 1628. 

2. St. Jerome on his Knees. — B io6 ; W in; M 

175. — Assigned to before 1628 by V., to 1629 by M. 
One state only. Not procurable. 

See remarks under No. i. 

3. Rembrandt's Mother. — Bl 192 ; B 352 ; W 347 ; 
M 6 ; Du 340. — Monogram RHL. Dated 1628. 

Two states ; 2d state shown. Sewall Coll. 

Two impressions are exhibited, the upper washed with India ink in 
the shadows. Most of the old women etched by R. are said to repre- 
sent his mother, although there are certain considerations which argue 
against the assumption. The woman here represented must be from 
seventy to seventy -five years of age, and as R. was twenty-one years old in 
1628, she must have been, taking it for granted that she was his mother, 
from fifty-one to fifty-four at the time of his birth and still older, of 
course, at the time of the birth of his younger sister Lijsbeth, which 
would certainly be phenomenal. It is said, moreover, that R.'s mother 



FIJiST PRINT ROOM. 



was about seventy at the time of her death in 1640 (Vosmaer, 2d ed., 
p. 202). It follows that in 1628 she was only about fifty-eight years 
old, which is altogether too young for the woman here represented. 
" R.'s Grandmother" would therefore be a more fitting title. His 
father's mother, who died in the year 1600, being out of the question, 
there remains only the conjecture that the woman represented may be 
his grandmother on the maternal side, Lijsbeth Cornelisdr. 

4. Rembrandt's Mother. — Bl 193 ; B 354 ; W 348 ; 
M 5 ; Du 341. — Monogram RHL. Dated 1628. 

Two states ; 2d state shown. Sewall ColL 

This magnificent little portrait which stands at the very threshhold 
of R.'s career as an etcher, adds an artistic enigma to the chronological 
riddle alluded to under No. 3. The woman represented might possibly 
be R.'s mother, but how is this etching, complete artistically and tech- 
nically, to be reconciled with much of the later work which goes under 
the artist's name, such for instance as the heads No. 62 and'No. 87? 
It seems impossible that the artist who did No. 3 should have done 
also, some years later, No. 62, No. 87 and their congeners. 

5. Head of a Woman. — Bl 252 ; B 375 ; W 369 ; 
M 3 ; Du 363. — Assigned to 1628 by V. and by M. 

One state only. Shown in photogravure. From BiJs Ji, 

V. believes this also to be a portrait of R.'s mother, and a study for 
No. 4. 

6. The Presentation, with the Angel. — Bl 24 ; 
B51; W56; M178; DU56. — Monogram i^iTZ (the hori- 
zontal bar of the H omitted). Dated 1630. 

Two states (?) ; 2d state shown. Sewall Coll. 

M. describes only two states. An impression of a later state, not 
described, is in the Gray Collection. 

7. The Circumcision. (Small, upright.) — Bl 21; 
B 48 ; W 53 ; M 179 ; Du 53. — Assigned to 1630 by V. 
and by M. 

One state only. Sewall Coll. 

8. Jesus Disputing with the Doctors. (Small, 
upright.) —Bl 37 ; B 66; W 70; M 177; Du 69. — The 
monogram and the date, 1630, in ist and 2d states. 

Three states ; 3d state shown. Sewall Coll. 



REMBRANDT'S ETCHINGS. 



g. Two Beggars, Man and Woman, coming 
from behind a bank. — Bl 129; B 165; W 162; M 10; 
Du 161. — Monogram in earlier states. Assigned to 1630 
by v., to 1629 by M. 

Seven states ; 7th state shown. Sewall Coll. 

10. Two Beggars, Man and Woman, conversing. 
— Bl 128; B 164; W 161; M 37 ; Du 160. — Monogram 
RHL. Dated 1630. 

Two states ; 2d state shown. Sewall Coll. 

11. A Beggar, standing. — Bl 133; B 169; W 166; 
M 80; Du 165. — Marked RH in, the letters of the 
name joined, but not in R.'s usual style. — Assigned to 
"early period " by V., to 1631 by M. 

One state only. Shown in photogravure. FromBl.'sR. 

M. is inclined to doubt this piece. According to him, it bears the 
monogram only, and he thinks there may be two states. 

12. A Beggar, sitting on a hillock. — Bl 136; B 174; 
W 171; M 34; Du 170. — Monogram RHL. Dated 
1630. 

One state only ? Sewall Coll. 

13. Man Standing. — Bl 155; B 190; W 187 ; M 
255; Du 187. — Monogram ^jyZ. Dated 1630. 

One state only. Not shoivn. 

14. Bust of a Man, with broad-brimmed hat and 
ruff. — Bl 260; B 311 ; W 312 ; M 28 ; Du 307.— Mono- 
gram RHL (crossbar wanting). Dated 1630. 

One state only ? Sewall Coll. 

There are impressions with and without monogram and date, these 
latter probably wiped out or covered up before the impressions were 
taken. The impression shown is of the second kind. 

15. Bust of a Man, looking from behind a wall. — 
Bl 265 ; B 304 ; W 304 ; M 38 ; Du 300. — The 2d and 3d 
states have the monogram and are dated 1630. 

Five states ; two shown : — 

(a.) I St state shown in photogravure. From BL^s R. 
Ip.) 4th state. Sewall Coll. 



FIRST PRINT ROOM. 



M.'s description of the ist state does not seem to be quite correct. 
According to him, the work on the 3d and later states is not by R. 

16. Old Man Sitting, wearing a high cap (Philon, 
the Jew). — Bl 266; B 321; W 319; M 36 ; Du 314. — 
Monogram RHL (without the crossbar in the H). 
Dated 1630. 

Three states ; 2d state shown. Sewall Coll. 

17. Bald Headed Man, in profile, with a jewelled 
chain. — Bl 272; B 292; W 294; M 39; Du 289. — In 
2d and 3d states, monogram RHL.^ and date, 1630. 

Three states ; 3d state shown. Sewall Coll. 

18. Same as No. 17, Reversed. — Bl 273; B 293; 
W 308; M 41; Du 290. — Assigned to 1630 by V. and 
by M. 

Two states; photogr. of ist state shown. From BlJs R. 

19. Same Head as No. 17, Smaller. — Bl 274; B 
294; W 295; M 40; Du 291. — Monogram Rt. Dated 
1630. 

One state only. Sewall Coll. 

20. An Old Man, with large beard, the shoulders 
rising above the ears. — Bl 282 ; B 325 ; W 323 ; M 30 ; 
Du 318, — Monogram RHL. Dated 1630. 

One state only. Sewall Coll. 

There are impressions in which the monogram and date have been 
suppressed. 

21. An Old Man, with large beard, the shoulders 
lower than the ears. — Bl 283 ; B 309 ; W 310 ; M 31 ; Du 
305. — Monogram RHL. Dated 1630. 

One stale only. Sewall Coll. 

22. An Old Man with large beard, the right shoulder 
left white. — Bl 285 ; B 291 ; W 293 ; M 29 ; Du 288. — 
Assigned to 1630 by V. and by M. 

One state only. Sewall Coll. 



REMBRANDT'S ETCHINGS. 



23. Rembrandt, with fur cap and light dress. — 
Bl 226 ; B24; W24;M27; Du 24. — Monogram. Dated 
1630. 

Five states; 4th (or sth.?) state shown. Sewall Coll. 

Monogram and date only partly visible in the impression shown. 



24. Rembrandt, grimacing. — Bl 214; B 10; W 10; 
M 23 ; Du ID. — Monogram and date, 1630, in ist state. 
Three states ; two shown : — 

(d!.) 2d state. Cut down. Sewall Coll. 

(If.) 3d state. Washed with India ink in the head. 

Sewall Coll. 



25. Rembrandt, with bushy hair and small white 
collar. — BI204; B i ; W i; M 51; Du i. — Monogram 
RHL (without the crossbar). Assigned to 1630 by V., 
to 1631 by M. 

Two states; 2d state shown. Sewall Coll. 

26. Rembrandt, with haggard eyes. — Bl 217; B 
320 ; W 33 ; M 24 ; Du 33. — Monogram RHL, and date, 
hardly legible, but generally read 1630. 

One state only. Sewall Coll. 

27. Rembrandt, laughing. — BI218; B 316; W 29; 
M 25 ; Du 29. — Monogram RHL. Dated 1630. 

Three states ; 3d state shown. Sewall Coll. 

M. thinks that the retouches which the 3d state shows are not by R. 
Mr. Haden ("Monograph," p. 14) speaks of a " distorted 2d state " by 
Van Vliet. 



28. Rembrandt, with open mouth. — Bl 219; B 13; 
W 13 ; M 22 ; Du 13. — Monogram. Dated 1630. 

Two states ; 2d state shown. Sewall Coll. 

In the 2d state part of the monogram is lost by the reduction of the 
plate. Only faint traces of it and of the date are visible in the impres- 
sion shown. 



FIRST PRINT ROOM. 



29. Rembrandt, with a broad nose. — Bl 208 ; B 4 ; 
W 4 ; M 42 ; Du 4. — Assigned to 1630 by V., to 1631 
by M. 

Two states; photogr. of 2d state shown. From BIJ's R. 

30. Rembrandt, stooping. — Bl 209 ; B 5 ; W 5 ; M 
19 ; Du 5. — Assigned to 1630 by V. and by M. 

Three states ; photogr. of 3d state shown. From Bl.'sR. 

31. Rembrandt, with curly hair, tufted. — Bl 205; 
B 27 ; W 27 ; M 26 ; Du 27. — Assigned to the earliest 
period by V. ; according to M., the monogram and the 
date 1630 can with difficulty be read in the lower margin. 

One state only. Shown in photogravure. From Bl.'s R. 

32. Diana Bathing. — Bl 165; B 201; W 198; 
M 258 ; Du 198. — Monogram RHL. ft. Assigned to 
163 1 by V. and by M. 

One state only. Sewall Coll, 

33. Danae and Jupiter. — Bl. 168; B 204; W 201 ; 
M 259; Du 201. — Monogram ^.^Z. Assigned to 1631 
by V. and by M. 

Two states ; 2d state shown. Sewall Coll. 

34. A Beggar, without beard, in a large cloak. — Bl 
114; B 150; W 148; M 71; Du 146. — Monogram RHL 
(shape of the letters quite different from that usually 
employed) . Dated 1 63 1 . 

Five states ; 4th state shown. Sewall Coll. 

The changes in the later states, M. thinks, are not due to R. 



35. The Bathers. — Bl 1 17 ; B 195 ; W 192 ; M 292 ; 
Du 192. — Signed Rembrandt, f. Dated 1631 .'' 
Two states ; ist state shown. Sewall Coll. 

There are some scratches in the figure 3 of the date, which M. thinks 
constitute a correction of the year to 1651. The work and the signa- 
ture both certainly seem to show the character of R.'s later years. 



REMBRANDT'S ETCHINGS. 



36. The Blind Fiddler. — Bl 91; B 138; W 138; 
M 78 ; Du 136. — Monogram RHL. Dated 1631. 

Three states ; 3d state shown. Sewall Coll. 

According to M., the shading which characterizes the last state was 
not executed by R. 

37. The Little Polander. — Bl 108; B 142 ; W 
142; M 79; Du 140. — Monogram RHL (without the 
crossbar). Dated 1631. 

One state only. Shown in photogravure. From Bl.'s R. 

38. The Dumb Beggar. (Lazarus Klap ; de Lazar- 
usiclap ; the Leper.) — Bl 138; B 171 ; W 168; M 72; 
Du 167. — Monogram RH (somewhat different from the 
usual form). Dated 1631. 

Six states; 3d state shown in photogravure. From Bl.'s R. 

39. Woman Crouching. — BI156; B191; W 188; 
M 257; Du 188. — Monogram ^^Z. Dated 1631. 

Two states. Not shown. 

40. A Beggar in a ragged cloak. — Bl 131; B 167; 
W 164; M 70 ; Du 163. — Monogram RHL. Dated 1631. 

Three states ; 2d state shown. Sewall Coll. 

Generally said to be " in the manner of Callot," without much 
warrant. 

41. A Beggar with a crippled hand. — Bl 130; B 
166; W 163 ; M 74 ; Du 162. — Assigned to 1631 by V. 
and by M. 

Three states ? 2d state (.?) shown in photogr. From Bl.'s R. 

This, like No. 40, is also said to be " in the manner of Callot." M. 
describes three, Du. four states. The impression shown seems to repro- 
duce Du.'s 4th state. 

42. A Beggar Woman, with a leather bottle. — 
Bl 132 ; B 168 ; W 165 ; M 75 ; Du 164. — Assigned to 
1 63 1 by V. and by M. 

Two states ; 2d state shown. Sewall Coll, 

M. thinks this piece " somewhat doubtful." 



8 fijRST print room. 

43. Two Venetian Figures. — Bl 119; B 154; 
W 151; M 73; Du 150. — Monogram apparently Rt. 
Assigned to 1631 by V. and by M. 

Two states ; photogr. of 2d state shown. From Bl.'s jR. 

It is difficult to say why these figures should be called " Venetian," 
unless for the reason that the cap of one of them resembles the cap of 
the Doges. 



44. A Peasant with his hands behind him. — Bl 103 ; 
B 135 ; W 136 ; M 89 ; Du 134. — Monogram RHL. 
Dated 1631. 

Four states ; 4th state shown. Sewall Coll. 

Mr. Haden (see " Monograph," p. 15) speaks of this plate as a " vile " 
copy by Van Vliet. 

45. Bust of a Bald Man, leaning forward, mouth 
open. — BI275; B 298; W 298; M 56 ; Du 294. — RHL. 
Dated 1631. 

Three states ; 3d state shown. Sewall Coll. 

"Very doubtful," according to V. M. thinks that after the ist state 
the plate was worked upon by others. 



46. Bust of a Bald Man, with large nose. — Bl 276 ; 
B 324 ; W 322 ; M 57 ; Du 317. — Monogram apparently 
RH. Dated 1631. 

Three states ; 2d state shown. Gray Coll. 

47. An Old Woman, wearing a dark head dress with 
lappets. —Bl 245; B 355; W 349; M 67 ; Du 343- — 
Monogram' RH. Dated 1631. 

M. describes three, BL, four states, but the descriptions 
do not indicate all the changes the plate has undergone, 

{a.) Bl.'s 4th state, in photogravure. From Bl.'s R. 

{b.) Seems to be M.'s 3d state, but is evidently later 
than Bl.'s 4th. Sewall Coll. 

{c.) Shows some little additional work, and would, 
therefore, constitute a still later state. Sewall Coll. 



REMBRANDT'S ETCHINGS. 



One of the earlier states, with considerably less work upon it, 
especially in the hood, is reproduced in Dutuit's book. The later 
retouches are supposed to be not by R. The example of this plate may 
serve to show the often unimportant character of the distinctions which 
mark "states." 



48. Bust of an Old Man, with a long beard. — Bl 
281 ; B 260 ; W 261 ; M 62 ; Du 276. — Monogram RHL. 
I St state dated 1631. 

Two states ; 2d state shown. Chas. Henry Hart. 

49. Bust of a Man, in profile, bearded, wearing a 
cap. — Bl 298; B 317 ; W 317 ; M 69 ; Du 312. — Mono- 
gram RH. Dated 1631. 

One state only. Shown in photogravure. From Bl.'s R, 

" Very doubtful," according to M. 

50. An Old Man, with large beard. — Bl 284 ; B 315 ; 
W 316 ; M 63 ; Du 311. — Monogram -ffZTZ. Dated 1631. 

Two states ; 2d state shown. Sewall Coll. 

51. A Man with a Short Beard, fur cap, and 
embroidered cloak. — BI267; B 263; W 265; M 77; Du 
279. — Monogram .^ZTZ. Dated 1631. 

Four states ; 4th state shown. Sewall Coll. 

52. Bust of an Elderly Man, with a cap and robe of 
fur. — Bl 264 ; B 307 ; W 307 ; M 58 ; Du 303. — Mono- 
gram RH. Dated 1631. 

Three states ; 3d (?) state shown. Sewall Coll. 

The third state is coarsely reworked. 

53. A Beggar, sitting in a chair, — Bl 124; B 160; 
W 157 ; M 76 ; Du 156. — Assigned to 1631 by V. and by 
M. 

One state only. Shown in photogravure. From Bl.'s R. 

There is something strongly suggestive of Diirer in the whole con- 
ception of this figure. 



lO FIRST PRINT ROOM. 

54. A Beggar, seated, with a dog by his side. — Bl 
139 ; B 175 ; W 172 ; M 65 ; Du 171. — Monogram appar- 
ently Rt. Dated 1631. 

One state only. Shown in photogravure. From Bl.'s H. 

The head seems to be that of the model who sat also for the " St. 
Paul in Prison," an early picture by R., dated 1627. See the etching 
by Baldinger, "Zeitschrift fiir bildende Kunst," 1874, reproduced in 
Bode, " R.'s friiheste Thatigkeit," No. 362 of this catalogue. 

55. Bust of an Old Man, in a high fur cap. — BI 
302 ; B 299 ; W 299 ; M 118 ; Du 295. — Assigned to 163 1 
by v., to 1635 by M. 

One state only. Sewall Coll. 

56. Rembrandt's Mother, in a black dress. — Bl 
195; B 349; W344; M53; Du 337. — Monogram i?^Z 
(the crossbar of the H omitted). Dated 1631. 

Two states ; ist (?) state shown. Sewall Coll. 

M. supposes the age of the woman represented to be 63 or 65 years, 
which seems too young. See the remarks under No. 3. 

57. Rembrandt's Mother, with a black veil. — Bl 
196; B343; W339; M54; Du 332. — Monogram 7?^Z. 
Jt. Assigned to 1631 by V. and by M. 

Four states ; 2d state shown. Sewall Coll. 

58. Rembrandt's Mother, wearing a lace cap. — Bl 
198 ; B 348 ; W 343 ; M 55 ; Du 336. — Monogram RHL. 
Dated 1631. 

Three states; 3d state shown. Sewall Coll. 

59. Rembrandt, with broad hat and embroidered 
mantle. — Bl 211 ; B 7 ; W 7 ; M 52 ; Du 7. — In 5th 
state monogram RHL and date 163 1 ; in 8th state, Rem- 
brandt f. 

Nine states ; 8th state shown. Sewall Coll. 

M. considers the plate in its later states to have been worked upon 
by other hands than those of R. The age of the person represented 
again inspires doubt. In 1631 R. was twenty-four. This youth, de- 
spite the down about the mouth, looks hardly more than eighteen or 
twenty at the utmost. The curious may find Mr. Haden's opinion 
of this plate, " Monograph," pp. 3 and 23. 



rembrAndt's etchings. ii 

60. Rembrandt, with a fur cap. — Bl 223; B 16 ; W 
16 ; M 45 ; Du 16. — Monogram RHL. Dated 1631. 

Two states ; ist state shown. Sewall Coll. 

61. Rembrandt, with squinting eyes and bushy hair. — 
Bl 220; B 25 ; W 25 ; M 49 ; Du 25. — Monogram and 
date, 1631, in ist and 2d states. 

Three states ; photogr. of 3d state shown. From Bl.^s E. 

Only the ist state, according to M., is entirely by R. 

62. Rembrandt, with fur cape. — Bl 222 ; B 15 ; W 
15 ; M 48; Du 15. — Monogram RHL. Dated 1631. 

Four states ; two shown : — 

{a.') ist state ; in photogravure. Frotn Bl.'s R. 

{b.) 4th state. Sewall Coll. 

According to M., the changes after the 2d state are not due to R.'s 
hand. According to Mr. Haden, the plate is a "vile" copy by Van 
Vliet. (See " Monograph," p. 15.) 

63. Rembrandt, with fur cap of unequal height. — 
Bl 225 ; B 14 ; W 14 ; M 44 ; Du 14. — Monogram RH. 
Dated 1631. 

Two states ; 2d state shown. Gray Coll. 

Reworked in the 2d state, according to M., by other hands than R.'s. 

64. Sketches, with a so-called Head of Rembrandt. — 
Bl 238; B 370; W 364; M 82 ; Du 358. — Monogram 
Rt. Date read 1631 by V. and by M., 1651 by others. 

One state only. Shown in photogravure. From BWs R. 

If 1 63 1 is the correct date, the head cannot be R.'s. The work, so 
far as a reproduction admits of judgment, certainly looks more like that 
of a later period. M. would have it that part of it is of earlier, part 
of later date. 



65. Rembrandt, with very small black eyes. — Bl 
213; B9; W9; M21; Du 9. — Assigned to 163 1 by V., 
to 1630 by M. 

One state only. Shown in photogravure. From BL's R. 



12 FIRST PRINT ROOM. 

66. Rembrandt, in an oval. — Bl 215 ; B 12 ; W 12 ; 

M 16 ; Du 12. — Assigned to 1631 by V., to 1630 by M. 
Two states; 2d state shown in photogr. From Bi.'s R. 

67. Rembrandt, in an octagon, — Bl 221; B 336; 
W 31 ; M. 20; Du 31. — Monogram RH. Assigned to 
1 63 1 by v., to 1630 by M. 

One state only. Shown in photogravure. From Bl.^s R. 

68. Rembrandt, with a soft round cap. (" R. aux trois 
crocs.") — Bl 224; B 319; W 28 ; M 47; Du 28. — As- 
signed to 163 1 by V. and by M. 

Five states ; two shown : — 

(a.) 3d state in photogravure. From BlJ's R. 

{b.) 4th state. Sewall Coll. 

Worked upon by some other artist, in M.'s opinion, in the 4th state 
and perhaps also in the 3d. Mr. Haden speaks of a "distorted 2d 
state " by Van Vliet. 

69. The Resurrection of Lazarus. Large. — Bl 
48; B 73; W 77 ; M 188; Du 79.— Marked: RHL {in 
monogram) 7f. Ryu. f. Assigned to 1632 by V., to 1633 
by M. 

Nine states, according to M; eleven, according to Bl. 
Three shown : — 

{a.) 2d state in photogravure. From Bl.^s R. 

(/'.) 8th state. Scivall Coll. 

\c.) 9th state (of M. ; i ith of Blanc?). Sewall Coll. 

M. is of opinion " that this piece is to a large extent the work of Van 
Vliet." Mr. Iladen professes (" Monograph," p. 25) " a general dis- 
trust of the plate," but hesitates " to pronounce upon it," as to its prob- 
able author. In his opinion, also, " the ordonnance of the plate " is 
not R.'s. For similarity in composition, compare the drawing in the 
British Museum, dated 1630, reproduced in Bode, " R.'s friiheste 
Thjitigkeit," No. 367 of this catalogue. 

70. The Body of Jesus carried to the Tomb. — 

Bl 60; B 84 ; W 89 ; M 21 7 ; Du 92. — Signed : Rembrant 
(^omitted). Assigned to 1632 by V., to 1645 ^Y ^^• 
One state only. Sewall Coll. 



REMBRANDT'S ETCHINGS. 13 

71. St. Jerome Praying. — Bl 72 ; B lor ; W 106; 
M 183; Du 104. — Signed: Rembrant. ft. {d omitted). 
Dated 1632. 

Three states ; 3d state shown. Sewall Coll. 

72. The Ratkiller. — Bl 95; B 121; W 125; M 261; 
Du 122. — Monogram RHL. Dated 1632. 

Two states ; 2d state shown. Sewall Coll. 

73. The Ratkiller. — Bl 96; B 122; W 126; M 260 
Du 123. — Assigned to 1632 by V. and by M. 

One state only. Shown in photogravure. From Bl.^s R. 

Called a study for No. 72. Ruined in the biting and abandoned. 

74. The Persian. — Bl 105; B 152; W 150; M 91; 
Du 148. — Monogram RHL. Dated 1632. 

Two states ; 2d state shown. Sewall Coll. 

75. A Man on Horseback. — Bl 106; B 139; W 
139; M 4; Du 137. — Monogram apparently RH, 
reversed. Assigned to between 1630 and 1634 by V., to 
1628, among the first attempts of R., by M. 

Two states; 2d state shown. Sewall Coll. 

76. Head of an Old Woman. — Bl 246 ; B 360; W 
354; Du 348. — Monogram RH. Assigned to 1632 by 
v., rejected by M. 

Two states described by W. ; 2d state shown in photogr. 

From Bl.'s R. 

77. Portrait of Coppenol, the Calligrapher. (The 
Little Coppenol.) — Bl 174; B 282 ; W 284; M 162 ; Du 
257. — Assigned to about 1632 by V., to 1651 by M. 

Six states ; 3d state shown. Sewall Coll. 

V. assigns this plate to about 1632, not only on the evidence of the 
style of the work, " la gravure," but also on that of the age of the sit- 
ter. As Coppenol was i^orn in 1598, he was thirty-four years of age in 
1632. He certainly looks much older in this portrait. Compare No. 
319- 



14 PIUST PRINT ROOM. 

78. A Cottage with White Pales. — Bl 332 ; B 

232; W229; M308; Du 229. — Signed JHembrandt. f.\ 2d 
state dated 1632, according to V., 1642, according to M. 
Two states; 2d state shown. Sewall Coll. 

On the impression shown the date, hardly visible, looks more like 
1642 than 1632. It has hardly any value, however, as it is evidently a 
later addition, probably by another hand. Moreover, the date 1642 
would place this plate, which is probably the tamest of all of R.'s 
landscapes, into the same year with " The Three Trees," and later than 
much of his far more vigorous work of the same kind. 



79. The Flight into Egypt. — Bl 25 ; B 52 ; W 57 ; 
M 184; Du 57. — Signed: Rembrandt invaitor et fecit. 
Dated 1633. 

Two states; ist state shown (late impression T). 

Sewall Coll. 

"A very doubtful piece," according to M. According to Mr. 
Haden, it is probably by Bol, from a design by Lastman. 



80. The Good Samaritan. — Bl 41; B 90; W 95; 

M 185; Du 75. — In 5th state: Rembrandt inventor et 
fecit. Dated 1633. 

Five states ; two shown : — 

{a.) 2d state, in photogravure. Fro7n Bl.'s R. 

{b.) 5th state. Gray Coll. 

According to M., this plate was executed partly by some pupil of R., 
as was also the additional work in the later states. Mr. Haden 
(" Monograph," p. 26) thinks it entirely the work of a pupil, possibly 
Bol. Bl., although controverting Mr. Haden's opinion, likewise, in 
accord with others, puts a low estimate upon the plate. Longhi, the 
celebrated engraver, on the other hand, in his book on engraving, 
declares it to be his favorite among R.'s etchings. 



81. The Descent from the Cross. Large plate. — 
Bl 56 ; B 81 ; W 83 ; M 186 ; Du 88. — Signed : Retnbrant. 
ft. (^/omitted). Dated 1633. 

Plate spoiled in the biting. Fragment only shown 
(photogravure), as given by Mr. Haden in his monograph, 
"The Etched Work of R." M. of F. A. 



REMBRANDT'S ETCHINGS. 1$ 

82. The Descent from the Cross. Large plate. 
Second Version. — Bl 56 ; B 81 ; W 84; M 187 ; Du 88. 
— Signed: Rembrandt. f. cvm pryvl. Dated 1633. 

Four states ; two shown : — 

(a.) 2d state. Gray Coll. 

(b.) 3d state. Sewall Coll. 

Evidently executed with the aid of a pupil, whom Mr. Haden 
(" Monograph," p. 27) supposes to have been Lievens, an opinion 
which M. combats. 

83. Adverse Fortune. — Bl 81; B in; W115; M 
262 ; Du 112. — Signed: Rembrandt/. Dated 1633. 

Three states ; 3d state shown in three impressions : — 
{a.') Without text on back. Gray Coll. 

(b.) With text on back. Seivall Coll. 

{c.) Without text on back. Seivall Coll. 

The 1st state, before the cutting of the plate, etc., is reproduced in 
Dutuit's book, but one of the alleged distinctive marks of this state, 
the failure of the acid in the shading between the wings of the half- 
closed door on the left of the print, is lost in the reproduction. The 
three impressions here shown as 3d states differ slightly. No trace 
whatever of the full name, " Rembrandt," can be discovered (even 
under the magnifying glass) on the side of the vessel on a, but an 
abbreviation of the name, " Rembr.," has been added, apparently by 
hand. The second impression b, with text on the back, corresponds to 
tlie description ordinarily given of the 3d state. Impression c shows 
some additional work in the shading between the wings of the door, 
and would, therefore, strictly speaking, constitute a 4th state, although 
it is in every way finer and more desirable than b, showing that the 
paltry differences which generally constitute " states " are not always 
to be relied upon as evidences of quality. — V. proposes a new title for 
this plate, viz. : " The History of St. Paul " (see his " Rembrandt," 2d 
ed., pp. 124 and 125). Messrs. Haden and Middleton think the plate 
was etched by one of R.'s pupils, possibly Bob, and M. is of opinion 
that " the print itself has very little merit." Bl., on the contrary, con- 
siders it " one of the happiest compositions of R." 

84. Jan Cornells Sylvius. —Bl 186; B 266; W 
268; M no; Du 268, — Signe4 ; Rembrandt. Dated 
1633. M- reads 1634, 

One state only ? Sewall Coll, 



1 6 FIRST PRINT ROOM. 

85. Rembrandt's Mother. — BI191; 6351; W346; 
M loi ; Du 339. — Signed: Rembrandt, ft. Dated 1633. 

Three states ; 2d state shown. Gray Coll. 

86. Rembrandt, with a scarf around his neck. — Bl 
229 ; B 17 ; W 17 ; M 99 ; Du 17. — Signed : Rembrandt. 

ft. Dated 1633. 

Three states ; 3d state shown : — 

(at.) Proof. Sewall Coll. 

{b.) Counterproof. Sewall Coll. 

87. Rembrandt, in a fur cap and dark dress. — BI 
210; B 6 ; W 6 ; M 17; Du 6. — Assigned to 1633 by V., 
to 1630 by M. 

Two states; 2d state shown. Sewall Coll. 

88. Rembrandt, with the bird of prey. — Bl 207 ; B 
3 ; W 3 ; M 100; Du 3. — Assigned to between 1632 and 
1634 by v., to 1633 by M. 

Three states; 2d state shown in photogr, R'rom Bl.^s R. 

Supposed to have been finished by some pupil, possibly Van Vliet, 
according to Bl. Mr. Haden also points to Van Vliet as the possible 
author of the plate. 

89. Rembrandt, with bushy hair, and strongly shaded. 
— BI227; B 332; W34; M 43; Du 34. — Assigned to 
1633 by v., to 1631 by M. 

Two states; ist state shown in photogr. J^rom BL's R. 

" Very doubtful," according to V. The monogram, Ri (although 
the i might be a small capital L), seems to appear only in the second 
state, reproduced by Dutuit. , 

90. Joseph and Potiphar's Wife. — Bl n ; B 39 ; 
W 43 ; M 192 ; Du 43. — Signed : Rembrandt, ft. Dated 
1634. 

Two states. Not shown. 

91. The Angel appearing to the Shepherds. — 
Bl 17; B44; W49; M 191; Du 49.-^^ Signed: Rem- 
brandt, ft. Dated 1634. 

Thr^e states ; 3d state shown, Gray Colly 



REMBRANDT'S ETCHINGS. 1/ 

92. The Samaritan Woman at the Ruins. — Bl 
46 ; B 71 ; W 75 ; M 195 ; Du 73. — Signed : Rembrandt. 
f. Dated 1634. 

Two states (according to M.) : — 

(a.) 2d state (with the scratch in the foreground). 

Gray Coll. 
{l>.) 2d state (without the scratch). Sewall Coll. 

Bl. says that the description of the states of this plate has hitherto 
been unreliable, but that the three states described by him, according 
to Weber, settle the question. M. refuses to recognize the three states 
and allows only two. In spite of all this, however, it is still a difficult 
matter to determine the states, from the descriptions given. Im 
pression a would seem to be M.'s 2d state, as it has the diagonal 
scratch in the white part of the foreground, etc. In impression b, on 
the other hand, — evidently in all essentials the same state, — this 
scratch is not seen, and there is also'noticeable a difference in the shad- 
ing over the left foot of Jesus. It is curious that a writer like Bl., with 
his practical knowledge, should place any reliance upon such marks, 
for a little experience at the printing press is sufficient to show their 
unrelialjility. A scratch on the copper may result from a particle of 
hard matter in the rag, and may show in a number of impressions, 
until, the printer discovering it, it is removed by him with a touch of 
the burnisher. Much more interesting is it to note the evident influ- 
ence of Rubens in the figure of Jesus, not only in the head, but in 
the whole of the pose. According to Mr. Iladen, Gerard Dow is the 
reputed author of the composition of this plate . 

93. Jesus and the Disciples at Emmaus. (The 
small plate.) — Bl 62 ; B 88 ; W 93 ; M 194 ; Du 95. — 
Signed: Rembrandt ft. Dated 1634. 

One state only. Sc^vall Coll. 

Although M. allows only one state, he nevertheless says that " the plate 
was coarsely retouched at some later time." The influence of Rubens is 
again very apparent in this etching, more especially in the figure of Jesus. 

94. St. Jerome, reading at the foot of a tree. — Bl 
71; B 100; W 105; M 190; Du 103. — Signed: Rem- 
brandt./. Dated 1634. 

Two states ; 2d state shown. Seumll Coll. 

v., following the usual reading, makes the date (which can be read 
only with difficulty) 1654. But it is evidently 1634 in consonance 
with the character of the work, which is that of R.'s earlier period. 
M. thinks he sees the hand of Bol in parts of the plate. Mr- Haden 
^so ig iijcUijed to attribute it to Bo], 



1 8 FIRST PRINT ROOM. 

95. A Beggar, "tis vinnich hout." — Bl 140; B 
177; W 174; M 112; Du 173. — Signed: Rembrand (no 
/, there being no room on the plate for it) f. (under the 
name). Dated 1634. 

One state only. Sewall Coll. 



96. A Beggar. "Dats niet." — Bl 141 ; B 178 ;W 175 ; 
M 113; Du 174. — Signed and dated: Iiembra?if 162,, in 
two lines, the last letters of the name and the last figure of 
the date wanting, there being no room for them. Assigned 
to 1634 by V, and by M. 

One state only. Sewall Coll. 

These companion pieces represent peasants rather than beggars. 
The last word in the legend on No. 95 is always given as ^out, but 
it is clearly hovii. According to Mr. liaden, "Rembrandt copied" 
these two plates from Hans Sebald Beham, and " Savry etched " them. 
To show how closely R. " copied ", Beham's engravings, in faithful 
reproductions, have been placed alongside of the etchings. 



97. Woman seated with hair let down. (The Great 

Jewish Bride.) — Bl 199; B 340; W 337; M 108; Du 
329. — Signed: R (reversed). Dated 1634. 

Four states ; 4th state shown. Stivall Coll. 

This etching has also been called " Saskia," which is simply a liljel 
upon Rembrandt and his charming first wife. If the plate were 
rejected, that would seem more natural. Even the more preferable ist 
state, reproduced by Dutuit, is unworthy of its proposed new title and 
of its reputed authorship. 



98. Supposed study for No. 97. — Bl 239 ; B 341 ; 
Du 330. — Assigned to 1634 by V., rejected by M. 

Two states (?) ; 2d state shown. Savall Coll. 

V. and Bl. both doubt this plate. W., like M., rejects it. 



99. A Young Woman reading. — Bl 242; B 345; 
W 341 ; M 109 ; Du 334. — Signed : Rembrandt./. Dated 
1634. 

Three states; 3d (?) state shown, SewaU Coll, 



REMBRANDT'S ETCHINGS. 1 9 

100. A Young Woman with pearls in her hair. — 
Bl 201; B 347 ; W 342; M 107; Du 335. — Signed: 
Rembrandt, f. Dated 1634. 

One state only. Sewall Coll. 

This has also been called a portrait of Saskia, R.'s first wife. 

loi. Rembrandt, with moustaches and small beard. 

— Bl 206; B 2; W 2; M 106; Du 2. — Assigned to 
between 1632 and 1634 by V., to 1634 by M. 

Two states ; 2d state shown. Sewall Coll. 

102. Rembrandt, with bushy hair. — BI212; B 8 ; W 
8; M 50; Du 8. — Assigned to 1634 by V., to 1631 by M. 

Six states ; three shown : — 

{a.^ TSt state in photogravure. Frotn Bl.^s R. 

(l>.) 4th state. Gray Coll. 

{c.) 5th state. Setvall Coll. 

M. assumes that the additional work on the 3d and 4th states is by 
R.'s pupils. That on the 5th and 6th states, according to the same 
writer, is supposed to belong to a much later time. Mr. Haden speaks 
of this plate as a "vile copy " by Van Vliet. 

103. Head of Rembrandt and other sketches — Bl 
237; B 363 ; W 357; M 136; Du 351. — Assigned to 
about 1634 by V., to 1639 by M. 

Three states; 2d state shown in two impressions : — 
(«:.) A heavy tint left upon the plate, parts only 
wiped clean with the finger. Setvall Coll. 

{b.) Wiped clean. Sewall Coll. 

104. Rembrandt with a flamboyant sword. — Bl 
231; B 18; W 18; M 105; Du 18. — Signed: Rem- 
brandt, f. Dated 1634. 

Three states ; 3d state shown. Seivall Coll. 

105. Rembrandt with a sword, wearing a tufted cap. 

— Bl 232 ; B 23 ; W 23 ; Mm; Du 23. — Signed : Rem- 
brandt ft. Dated 1634. 

Four states ; three shown : — 

(rt!.) I St state in photogravure. From Bl.^s R. 

{b.) 2d state in photogravure. From Du.'s R. 

{e.) 3d state. Sewall Coll. 



20 FIRST PRINT ROOM. 



The recklessness and lack of judgment with which R.'s name has 
been connected with the male heads etched by or attributed to him, are 
easily seen upon a comparison of Nos. 104 and 105. M. calls the 
latter a " Portrait, Unknown." V. thinks it rather a study from R.'s 
figure than a portrait. But the face certainly has a marked individual- 
ity, and the mole at the right of the nose would hardly be in place in 
an ideal head. 



106. The Landscape with the Cow (Ruins on 
the Seashore). — Bl 309; B206; W 203; Du 203. — 
Monogram RHL. f. Dated 1634. V. thinks, however, 
that the date has been added by hand. Rejected by M. 

Two states ; 2d state shown in photogr. From Bl.'s R. 

107. Jesus Driving the Money Changers from 
the Temple. — Bl 44 ; B 69 ; W 73 ; M 198 ; Du 80. — 
Signed : Rembramit.ft. Dated 1635. 

Two states ; both shown : — 

(<7.) ist state. . Sewall Coll. 

{b.') 2d state. Sewall Coll. 

The difference between the two " states" of this plate shows plainly 
the puerile character of many of the distinctions involved. M.'s order 
of states, which is the usual order, has here been followed, although 
Bl., who inverts it, is no doubt correct. There do not, in fact, 
exist two states. The dark spots around the mouth and on the fore- 
head and sole of the man under the ox are due evidently to an acci- 
dent, and were burnished out or disappeared of themselves, after a 
number of impressions had been taken. They are, therefore, evidences 
of priority rather than otherwise. The figure of Christ, it is well 
known, is a reversed copy of a figure in Dlirer's Little Passion. 

108. The Tribute Money. — Bl 42 ; B 68 ; VV 72 ; 

M 196 ; Du 8t. — Assigned to 1635 by V., to 1634 by M. 
One state only. Sewall Coll, 

Three states are usually described, but according to M., there is 
practically only one state. 



109. The Martrydomof St. Stephen. — Bl 68; B 
97; W 102; M 197; Du 100. — Signed: Rembrandt, ft. 
Dated 1635. 

One state only. Gray Coll. 



REMBRANDT'S ETCHINGS. 




Two states are usually described, but according to M., there is prac- 
tically only one state, although he admits that there are impressions 
from the plate after it had been " coarsely reworked." 

110. St. Jerome Kneeling. — Bl 73; B 102; W 
107; M 199; Du 105. — Signed: Rembrandt f. Dated 

1635. 

One state only. Seivall Coll, 

111. The Mountebank. — Bl 92 ; B 129; W 132; 
M 117 ; Du 129. — Signed : Rembrajidt ft. Dated 1635. 

One state only. Setvall Coll. 

112. The Pancake Woman. — Bl 93; B 124; W 
128; M 264 ; Du 125. — Signed: Rembrandt, ft. Dated 

1635- 

Four states ; 3d state shown. Sewall Coll. 

113. A Nude Woman, sitting on a hillock. — Bl 
162; B 198; W 195; M 256; Du 195. — Assigned to 
1635 by v., to 1631 by M. 

One state only. Sewall Coll. 

114. Johannes Uytenbogaert. — Bl 190; B 279; 
W 281 ; M 114 ; Du 272. — Signed and dated in 3d state : 
Rembrandt, f 1635. 

Five states; two shown : — 

(rt!.) 3d state in photogravure. Sewall Coll. 

(b.) 5th state. Seivall Coll. 

(c.) 5th state. Sewall Coll. 

The signature does not appear to be by R. himself. The />, the d, 
and the/of the/eci^are quite different from the form of these letters 
usually employed by him. Two impressions of the 5th state are exhib- 
ited, to show difference in printing and condition of plate. 

115. Oriental Head. Full face. (Jacob Cats.) — 
Bl 173; B 286; W 288; M 122; Du 283.— Signed: Rem- 
brandt. Dated 1635. 

Two states; 2d state shown. Sewall Coll. 

The assumption that this is a portrait of Cats, the poet, has been dis- 
proved by V. See No. 117. 



22 FIRST PRINT ROOM. 

ii5. Oriental Head. Profile, to right. — Bl 289; B 
288; W 290; M 124; Du 285. — Signed: Rembrandt. 
Dated 1635. 

One state only. Shown in photogravure. Fro7n Bl.^s R. 

The signature does not look like R.'s. See No. 117. 

117. Oriental Head. Profile, to left. — Bl 288; B 
287; W 289; M 123; Du 284. — Signed: Rembrandt. 
Assigned to 1635 by V. and by M. 

One state only. Sewall Coll. 

Upon the three etchings catalogued under Nos. 11 5-1 17 appears the 
mysterious word which has been read Venetiis and reneius, l)ut which, 
according to V., reads gcretuckenU, that is to say, rctotiched. It is 
likely, therefore, that these plates are the work of a pupil, retouched by 
R. The signatures on Nos. 116 and 117 have peculiarities which 
plainly distinguish them from other signatures usually considered gen- 
uine. Mr. Haden's opinion of these plates can be read on p. 28 of his 
" Monograph." 

118. The Crucifixion. Small plate. — Bl 55 ; B80; 
W 86 ; M 193 ; Du 87. — Signed : Rembrandt f. Assigned 
to between 1630 and 1635 by V., to 1634 by M. 

One state only. Sewall Coll. 

Three states are usually described, but according to M., there is only 
one. The signature, which is very faint, hardly looks like R.'s. 

119. The Travelling Musicians. — Bl 90; B 119; 
W 123; M 263 ; Du 120. — Assigned to between 1630 and 
1635 by v., to 1635 by M. 

Two states ; 2d state shown. Sewall Coll. 

120. St. Peter Healing the Cripple. — Bl 65; B 
95; W 99 ; M 249; Du 98. — Assigned to between 1630 
and 1635 by V., to 1655 % M. 

One state only. Shown in photogravure. From Bl.'s R. 

121. A Polander, turned towards the right. — Bl 107 ; 
B 140 ; W 140 ; M 102 ; Du 138. — Assigned to between 
1630 and 1635 by V., to 1633 by M. 

Two states : 2d state shown. Sewall Coll. 



REMBRANDT'S ETCHINGS. 2$ 

122. A Polander, with sabre and stick. — Bl ii8; 
B 141; W 141; M 93 ; Du 139. — Assigned to between 
1630 and 1635 by V., to 1632 by M. 

Six states ; two shown : — 

(a.) I St state. Shown in photogr. J^rom Bl.'s R. 
(d.) 5th state. Sewall Coll, 

M. thinks that the additional work after the fourth state is not by R. 

123. An Old Man with a bushy beard. — BI 115; B 
151; W 149; M 32; Du 147. — Monogram RffL, re- 
versed. Assigned to between 1630 and 1635 by V., to 
1630 by M. 

Two states; 2d state shown. Sewall Coll. 

124. The White Negress. — BI 241; B 357; W 
351; Du 345. — Reversed monogram on first state. As- 
signed to between 1630 and 1635 t>y V., rejected by M. 

Two states ; 2d state shown. Sewall Coll. 

125. A Young Man in a mezetin cap. — Bl 255; B 
289; W 291; M 125; Du 286. — Monogram, ap^Darently 
RHL, but only partly visible. Assigned to between 1630 

and 1635 ^y ^v ^o ^^35 ^Y ■'^• 

Two states; 2d state shown. Sewall Coll. 

126. Bust of a Man, with a ruflf, and feathers in his 
hat. — Bl 261 ; B 335 ; W 331 ; M 2 ; Du 326. — Placed 
by V. among the pieces assigned to between 1630 and 
1635 ; assigned to 1628 by M. 

Two states; ist state shown in photogr. From Bl.'s R. 

Of all the ridiculous things attributed to R., this little head is the 
most ridiculous. V. does, indeed, consider it doubtful, but places it as 
stated, probably on the strength of a scratch in the background which 
looks like a 5. Bl., M., and Du. accept it without qualification, and M. 
places it second on his chronological list, in close proximity to the 
admirable portrait, No. 4, of this catalogue. 

127. An Old Man, in profile, with a short beard. — 
Bl 294; B 306 ; W 306 ; M 120; Du 302. — Assigned to 
between 1630 and 1635 by V., to 1635 ^1 ^* 

Two states ; 2d state shown. Sewall Coll. 



24 FIRST PRINT ROOM. 

128. Sketches of figures, divided by a line. — Bl 123 ; 
B 373 ; W 367; M i; Du 361. — Assigned to between 
1630 and 1635 by V., to 1628 by M. 

One state only. Shown in photogravure. From Bl.^s R. 

M. sees in these sketches R.'s first attempt at etching. 



129. A Beggar, warming his hands. — Bl 135 ; B 173 ; 
W 170; M 14; Du 169. — Assigned to between 1630 and 
1635 by v., to 1629 by M. 

Two states ; 2d state shown. Sewall Coll. 



130. A Grotesque Head in a high fur cap. — Bl 301 ; 
B 326 ; W 324; M 98 ; Du 319. — Assigned to between 
1630 and 1635 by V., to 1632 by M. 
Four states ; two shown : — 

(a.) 3d stale (?) in photogravure. From Bl.'s R. 
lb.) 4th state (.?). Sewall Coll. 

M.'s description does not fit the impressions shown, nor does it cor- 
respond with Bl.'s. 



131. An Old Man, in an ample velvet cloak and with 
a fur cap. — Bl 270; B 262; W 264 ; M 90; Du 278. — 
Monogram RHL ft. Assigned to between 1630 and 
1635 t>y v., to 1632 by M. 

Three states ; 2d state shown. Sewall Coll. 



132. An Old Man, with a turned-up cap (in the 2d 
state). — Bl 280; B 337; W 332; M 96 ; Du 327. — As- 
signed to between 1630 and 1635 by V., to 1632 by M. 

Three states ; 3d state shown in photogr. From Bl.'s R. 



133. An Old Woman, asleep over her book. — Bl 
244; B 350; W 345; M 116; Du 338. — Assigned to 

about 1635 t>y ^ "> to ^^35 ^Y ^* 

One state only. Sewall Coll. 



REMBRANDT'S ETCHINGS. 2$ 

134. Head of a Man crying out. — Bl 299 ; B 327 ; 
W 325 ; M 97 ; Du 320. — Assigned to between 1630 and 
1635 by v., to 1632 by M. 

Two states ; both shown : — 

(a.) I st state. Sewall Coll. 

{b.) 2d state. Sewall Coll. 

135. Sketches of five heads and a half-length figure. 
— 151 308 ; B 366 ; W 360 ; M 83 ; Dii 354. — Monogram 
RHL^ reversed. Assigned to between 1630 and 1635 by 
v., to 163 1 by M. 

Two states ; ist state shown in photogr. From Bl.'s R. 

The plate was afterwards cut into five pieces. See Nos. 136 to 140. 

136. Bust of an Old Man, in profile to right. (Part 
of No. 135.) — Bl 290 ; B 334 ; W 330 ; M 84 ; Du 325. 

Two states ; 2d state shown in photogr. From Bl.'s R. 

137. Bust of an Old Man, and head of a cat. 
(Partof No. 135.)— BI292; B 333 ; W329;M85; DU324. 

Five states ; 2d state shown in photogr. From Bl.'s R. 

138. An Old Man, seen from behind. (Part of No. 
135.) Bl 109; B 143; W 143; M86; Du 141. 

Four states ; two shown : — 

(at.) 2d state. Seivall Coll. 

(b.) 4th state. Sewall Coll 

M. thinks the work on the 4th state due to a later hand. 

139. A Turkish Slave. (Partof No. 135.) — Bl 
293 ; B 303 ; W 303 ; M 87 ; Du 299. 

Two states ; 2d state shown in photogr. From Bl.'s R. 

140. Bust of a Man, crying out, turned to the left. 
(Partof No. 135.) — BI291 ; B30o;W3oo; M 88 ; Du 296. 

Five states ; two shown : — 

(rt-.) 2d state in photogravure. From Bl.'s R. 

{b.) 5th state. Seioall Coll. 

According to M. the variations in the 3d and later states were not 
made by R. 



26 FIJiST PRINT ROOM. 



141. The Haycart. — Bl 345; B 251; VV 247; Du 
248. — Assigned to between 1630 and 1635 by V., rejected 
by M. 

Two states; ist state shown in photogr. From Bl.'s R. 

142. Sketch of a Dog. — Bl 351 ; B 371; W 365; 
M 266; Du 359. — Assigned to between 1630 and 1635 by 
v., to 1640 by M. 

One state only. Shown in photogravure. From Bl's R, 

143. The Return of the Prodigal. — Bl 43 ; B 91 ; 
W 96 ; M 201; Du 76. — Signed: Rembrandt/. Dated 
1636. 

One state only. . Sewall Coll. 

The composition of this plate is said to be by Heemskirk. 

144. The Ecce Homo. — Bl 52 ; B 77 ; W 82 ; M 
200; Du 84. — Marked in 3d state, with the graver, quite 
lightly and very clumsily : Rembrandt ft. i6j6. ci'm privileg. 

Five states ; two shown : — 

(d!.) 3d state. Gray Coll. 

(b.) 4th state. Se%i>all Coll. 

Mr. Iladen in his " Monograph " gives a reproduction of a part of the 
unfinished ist state, showing the engraver-like manner in which the 
work was done. The plate was probaljly executed, partly at least, by 
Lievens or Van Vliet. To the copies described by M. must be added 
another, rather effective as a whole, although very mediocre in detail; 
etched surface, h.-.537, b.-.444; marked Rembrandt f. in a clear 
space below. An impression in the Museum of P'ine Arts. 

145. Landscape with a Flock of Sheep. Arched. 
— BI325; B 224; W 221; M 319; Du 221. — Signed : 
Rembrandt f. Dated 1636. 

Two states; 2d state shown. Sewall Coll. 

M. reads the date 1650, but on the impression shown it is evidently 
1636. 

146. Landscape with a Milkman. — Bl 316 ; B 213 ; 

W 210; M 320; Du 210. — Assigned to 1636 byV.,to 
1650 by M. 
Two states ; 2d state shown. Gray Coll. 



REMBRANDT'S ETCHINGS. 2/ 

147. The House on the Banks of the Canal. — Bl 

342 ; B 245 ; W 241 ; Du 242. — Assigned to 1636 by V., 
rejected by M. 

Two states; ist state shown in photogr. From Bl.^sR. 

148. Mennaseh-Ben-Israel. — Bl 183 ; B 269 ; W 
271 ; M 127; Du 266. — Signed: Rembrandt f. Dated 
1636. 

Two states; 2d state shown. Sewall Coll. 



w 



149. Rembrandt and his Wife. — Bl 203; B 19; 
W ig ; M 128; Du 19. — Signed: Rembrandt/. Dated 
1636. 

One state only. Sewall Coll. 

150. Saskia, and five other heads. — Bl 249; B 
365; W 359; M 129; Du 353. — Signed: Rembrandt. /. 
Dated 1636. 

Two states ; ist state shown. Sewall Coll. 

151. Saskia, and two other heads. — Bl 250; B 367 ; 
W 361 ; M 115 ; Du 355. — Assigned to between 1634 and 
1636, probably the latter year, by V., to 1635 ^y M. 

Two states ; 2d state shown. Sewall Coll. 

152. Abraham Sending away Hagar and Ish- 
mael. — Bl 3 ; B 30 ; W 37 ; M 204 ; Du 37. — Signed : 
Rembratidtf. Dated 1637. 

One state only. Sewall Coll. 

153. A Young Man, seated, reflecting. — Bl 258 ; B 
268; W 270; M 132; Du 282. — Signed: Rembrandt/. 
Dated 1637. 

One state only. Sewall Coll. 

R.'s signature about this time, beginning with plate No. 148, shows 
curioxis changes. There is something fanciful in the signatures on 
plates 149, 150, and 153, which at first sight seems to throw a doubt 
upon their genuineness. 



28 FIRST PRINT ROOM. 

154. An Old Man, wearing a rich velvet cap. — Bl 
269; B 313; W 314; M 131; Du 309. — Signed: Retn- 
braiidtf. Dated 1637. 

One state only. Sewall Coll. 

The name and date have been erased on the impression shown. 



155. Saskia, and two other heads of women, one 
asleep. — Bl 251 ; B 368 ; W 362 ; M 130; Du 356. — 
Signed: Rembrafidt f. Dated 1637. 

One state only. Sewall Coll. 



156. Adam and Eve. — Bl i ; B 28 ; W 35 ; M 206 ; 
Du 35. — Signed : Reinbrandt. ft. Dated 1638. 

Two states ; 2d state shown : — 

{a?) Original impression. Sewall Coll. 

{b.) The " deceptive copy," described by Bartsch. 

Sezvall Coll. 

The copy is shown to put collectors on their guard. Bl., in his 
"Oeuvre de R." of 1873, reproduces this copy as the original. In the 
later " Oeuvre " of 1880, the original is reproduced, and the copy is 
alluded to in the text, but the reader's attention is not called to the error 
in the previous edition, — a precaution which certainly ought to have 
been taken, as collectors are likely to be misled, and have been mis- 
led, by Bl.'s curious mistake. 

157. Abraham caressing Isaac. — Bl 4 ; B 33 ; W 
135*; M 203 ; Du 38. — Signed: Rembrandt./. Assigned 
to about 1637 to 1639 by V., to 1636 by M. 

One state only. Gray Coll. 

M. is inclined to doubt this piece, and to attribute it to Bol. 

158. Joseph telling his Dreams. — Bl 9 ; B 37 ; 
W 41 ; M 205; Du 41. — Signed: Rembrant f. Dated 
1638. 

Two states ; both shown : — 

(a.) I st state. Sewall Coll. 

(^.) 2d state. Seivall Coll. 

The signature is very difficult to make out, and seems to lack the d. 



REMBRANDT'S ETCHINGS, 29 

159. St. Catherine. (The Little Jewish Bride.) — 
Bl 200; B 342; W 338; M 135; Du 331. — Signed: 
Rembrandt f. Dated 1638. The whole reversed. 

One state only. Gray Coll. 

The fact that the writing is reversed, but more especially the style of 
the figures, throws a strong doubt upon the genuineness of the 
signature. 

160. Rembrandt, wearing a mezetin cap with a 
feather. — BI233; B20; W20; M134; Du2o. — Signed: 
Rembrandt, f. Dated 1638. 

One state only. Sewall Coll. 

Bl. describes two states, but according to M. the variations are due to 
wearing. Upon the impression shown there are some slight retouches 
in India ink. Most writers go out of their way to give special praise to 
this awkward and ugly portrait, which cannot possibly represent R. 
Note the wooden stump of a hand, the unintelligent way in which the 
folds of the cloak are indicated, and the clumsiness with which the 
ornaments on the cloak are etched. No beauty of impression can 
remedy these defects. 

161. Rembrandt in a flat cap. — Bl 216; B 26 ; W 
26 ; M 133 ; Du 26. — Assigned to 1638 by V. and by M. 
Signed: Rembrandt very faintly in the ist state; name re- 
etched by another hand in the 2d state. 

Two states; ist state shown. Sewali Coll. 

On the impression exhibited the name is not visible. V. considers 
this piece doubtful. 

162. The Sleeping Dog. — Bl 352 ; B 158 ; W 155 ; 
M 267 ; Du 154. — Assigned to 1638 by V., to 1640 by M. 

Three states ; 3d state shown. Sewall Coll. 

163. The Presentation in the Vaulted Temple. 
— Bl 22 ; B 49 ; W 54 ; M 208 ; Du 54. — V. says that 
the plate is dated 1639, which is a mistake ; M. assigns it 
to 1639. 

Four states ; three shown. 

{a.) ist state, shown in photogr. From Bl.^s R. 

(b.) 2d state. Seivall Coll. 

(e.) 3d state, Setvall Coll, 



30 FIRST PRINT ROOM. 

Impression b is cut and repaired along the upper margin. Although 
the plate itself is not dated, there is a reversed copy of it (not described 
in any catalogue, but an impression in the Museum) which is marked 
Rembrand (no f) f, 1639. 

164. The Death of the Virgin. — Bl 70; B 99 ; W 

104; M 207 ; Du 102. — Signed: Rembrandt/. Dated 
1639. 

Four states ; 3d state shown. 

{a.) Showing plate marks and full lower margin. 

Edward W. Hooper, 
{Ik) Without these. Sewall Coll. 

The impression lent by Mr. Hooper is shown framed on top of the 
case in the middle of the room. The wrong use made of the word 
" state " is well illustrated by the so-called " states " of this plate. 
Speaking of the 3d state, M. says, " We may, no doubt, regard this as 
the finished plate, the ist and 2d states being trial proofs." The so- 
called 3d state is, therefore, in reality the ist state. 

165. Youth Surprised by Death. — Bl 79 ; B 109 ; 

W 1 13 ; M 265 ; Du no. — Signed : Rembrandt f. Dated 
1639. 

One state only. Sewall Coll. 

166. The Receiver Uytenbogaert. (The Gold- 
weigher.) — Bl 1S9 ; B 281 ; W 283 ; M 138 ; Du 271. — 
Signed: Rembrandt ft. Dated 1639. 

Three states; two shown: — 

{a.) 2d state. Sewall Coll. 

{b.) 3d state. Sewall Coll. 

Concerning Mr. Haden's theories about this plate, viz., that only the 
head and shoulders of Uytenbogaert are by R., the rest by Bol, see his 
" Monograph," p. 30. 

167. Rembrandt leaning on a stone sill. — Bl 234; 
B21; W 21; M 137; Du 21. — Signed: Rembrandt f. 
Dated 1639. 

Two states ; 2d state shown. Gray Coll. 

168. A Jew with a High Cap. — Bl loi ; B 133; W 
.135 ; M 1 40 ; Du 1 32 . — Signed : Rembrandt f. Dated 1 639 . 

pjie state only . Sewall Coll. 



REMBRANDT'S ETCHlkGS. 3 1 

i6g. A Physician Feeling the Pulse of a Patient. 

— Bl ii6 ; B 155 ; W 152 ; M 143 ; Du 151. — Assigned 
to 1639 by V. and by M. 

One state only. Shown in photogravure. From BiJs R, 

Compare with the physician in No. 164. 

170. The Decapitation of St. John, the Baptist. 

— Bl 40 ; B 92 ; W 97 ; M 209 ; Du 74. — Signed : I^em- 
brandtf. Dated 1640. 

Two states ; 2d state shown. Sewall Coll. 

M. describes the executioner as "bared to the waist," which is a 
mistake. In the ist state (reproduced in Dutuit's book), the execu- 
tioner is clothed, as in the state here shown. 



171. The Triumph of Mordecai. — Bl 12; B 40; 

W 44 ; M 228 ; Du 48. — Assigned to about 1640 to 1645 
by v., to 1 65 1 by M. 

One state only. Gray Coll. 

According to Bl., there is a 2d state, retouched. The name, Rem- 
brant (without^), on the impression shown, has evidently been written 
upon it. As portraits of the artist and his wife are so eagerly sought out 
in R.'s etchings, it is a wonder that no one has yet pointed out the 
resemblance to them which may be detected in the two figures on the 
balcony to the right, supposed to represent King Ahasuerus and his 
queen Esther. 



172. The Virgin Mourning the Death of Jesus. 

— Bl 59 ; B 85 ; W 90 ; M 202 ; Du 91. — Assigned to 
1640 by v., to 1636 by M. 
One state only. Shown in photogravure. Fro77i Bl.^s R. 

Bl. and W. describe two states. Bl., although he retains this plate, 
is inclined to attribute it to Bol, and sees Italian influences in it. 



173. The Holy Family. (The Virgin with the 
Basket of Linen.) — Bl 33 ; B 62 ; W 66 ; M 182 ; Du 
65. — Monogram RHL. Assigned to 1640 by V,, to 1632 
by M. 

One state only. Sewall Coll. 



32 PlJRST PRINT ROOM. 

The monogram favors the earlier year. W. and Bl. describe two states, 
and M.'s reasons for discarding them hardly seem satisfactory. V. says, 
" This piece is in the Italian manner." 

174. The Crucifixion. Small oval plate. — Bl 54; 
B 79 ; W 85 ; M 222 ; Du 86. — Assigned to about 1640 
by v., to 1648 by M. 

Two states ; 2d state shown. Sewall Coll. 

175. The Sick Woman. (Saskia Dying.) — Bl 
202; B 359; W 353; M 150; Du 347. — Assigned to 
about 1640 by V., to 1672 by M. 

One state only. Sewall Coll. 

V. does not share the opinion of Bl. and others, that this is a portrait 
of Saskia. 

176. The Skater. — Bl 121 ; B 156 ; W 153 ; M 103 ; 
Du 152. — Assigned to between 1636 and 1640 by V., to 
1633 by M. 

One state only. Shown in photogravure. From Bl.^s R. 

177. A Young Woman with a basket. — Bl 240; B 
356 ; W 350 ; M 151 ; Du 344. — Assigned to about 1640 
by v., to 1642 by M. 

Two states; ist state shown. Sewall Coll. 

178. An Old Man with a divided fur cap. — Bl 271 ; 
B 265 ; W 267 ; M 145 ; Du 280. — Signed : Rembrandt f. 
Dated 1640. 

One state only. Se^vall Coll. 

179. The Bull. — Bl 346; B 253 ; W 249; M 289; 
Du 250. — Signed: Rembrandt, f. 164. (last figure want- 
ing). Date read 1640 by V, ; assigned to 1649 by M. 

One state only. Shown in photogravure. FromBl.'s R. 

180. The Canal. — Bl 322 ; B 221 ; W 218 ; M 327 ; 
Du 218. — Assigned to about 1640 by V., to 1652 by M. 

One state only. Sewall Coll. 



hembrandT^s etchings. ^5 

i8i. The Adoration of the Shepherds. Night 
effect. — Bl 19 ; B 46; W 51 ; M 230 ; Du 51. — Assigned 
to between 1632 and 1640 by V., to 1652 by M. 
Six states ; two shown : — 

(rt-.) 2d state (?). Seivall Coll. 

(/;.) 6th state (?). Scwall CoU. 

Both M. and Bl. describe six states, but their descriptions are at 
variance with one another, and do not agree with the prints them- 
selves. The trouble probably arises from the description of trial proofs 
as states, and from variations in printing. Very likely, impression a is 
the 1st state, and earlier impressions are only trial proofs. 



182. The Flight into Egypt. — Bl 27 ; B 54 ; W 59 ; 
M 181 ; Du 59, — Assigned to between 1632 and 1640 by 
V,, to 1630 by M. 

Six states ; two shown : — 
(«.) I St state shown in photogr. From Bl.^s R. 

(/k) 5th state. Sewall Coll. 

183. The Repose in Egypt. Night effect. — Bl 30 ; 
B 57 ; W 62 ; M 221 ; Du 62. — Assigned to between 
1632 and 1640 by V., to 1647 ^y M* 

Three states ; 3d state shown. Sewall Coll. 

184. Sketches, including those of two sick women in 
bed. — Bl 122; B 369; W 363; M 144; Du 357.— 
Assigned to between 1635 and 1640 by V., to 1639 ^7 ^* 

One state only : — 

(rt!.) Original impression. Sewall Coll. 

(^.) Photogravure reproduction. From Bl.^s R. 

The original and fac-simile are both shown to enable visitors to see 
all the sketches in an upright position. 



185. A Beggar, front view, standing and leaning 
upon a stick. — Bl 125; B 162; W 159; M 33 ; Du 158. 
— Assigned to between 1635 ^"^ \(i\o by V., to 1630 by 
M. 

Two states : 2d state shown. Sewall Coll. 



J4 FIUST PRINT ROOM. 

i86. A Beggar, in profile, standing and leaning on a 
stick. — Bl 126; B 163; W 160; M 141; Du 159. — As- 
signed to between 1632 and 1640 by V., to 1639 ^y M. 

One state only. Sewall Coll. 



187. A Beggar, with his wife and child. — Bl 127; 
B 161 ; W 158; M 142; Du 157. — Assigned to between 
1632 and 1640 by V., to 1639 ^y M. 

One state only. Shown in photogravure. From Bl.'s R. 



188. A Ragged Peasant, with his hands behind him. 
— Bl 137 ; B 172; W 169; M 121; Du 168. — Assigned 
to between 1632 and 1640 by V., to 1635 '^y '^• 
Three states ; 3d state shown : — 

(a.) Original impression. Sewall Coll. 

(^.) Photogravure reproduction. From Bl.^s R. 

The two impressions have been hung to show the curious difference 
in the lines to the right of the figure, which may possibly be due to 
intentional suppression in the printing. A comparison of these impres- 
sions with Fig. 6, on Plate I, of M.'s catalogue, will show the unwar- 
rantable carelessness with which many of the figures in this l)ook have 
been drawn, making them a stumbling-block rather than a help to the 
collector. 



189. A Beggar, with a wooden leg. — Bl 142; B 179; 
W 176; M 35; Du 175. — Assigned to between 1632 and 
1640 by v., to 1630 by M. 

Two states; 2d state shown. Sewall Coll. 



190. An Old Man lifting his hand to his cap. — Bl 
268; B 259; W 260; M 139; W 275. — Assigned to 
between 1632 and 1640 by V., to 1639 % ^• 
Two states : — 

(a.) I St state. Sewall Coll. 

{b.) 2d state. Sewall Coll. 

M. allows one state only. Impression a is from the plate as left liy 
R.; /> is from the same plate as finished l)y G. F. Schmidt towards the 
end of last century. 



REMBRANDT'S ETCHINGS. 35 

igi. An Orchard with a Barn. — BI330; B 230; 
W 227 ; M 316 ; Du 227. — Assigned to between 1632 and 
1640 by v., to 1648 by M. 

Two states ; ist state shown in photogr. From B/.'s R. 

192. Landscape with a cow drinking. — Bl 337 ; B 
237; W 234; M 318; Du 234. — Assigned to between 
1632 and 1640 by^V., to 1649 by M. 

Four states (?) j 3d state shown. Sewall Coll. 

The cataloguers disagree sadly in their descriptions of the states of 
this plate. M. allows only two. In the ist the ground in the lower 
right corner is only partially shaded, in the 2d there is more shading, 
but still the extreme lower right corner is blank. M. admits that there 
are other variations, but he says, " The latest impressions are so bad 
that I think it is not worth our while to describe them." Nevertheless, 
both Bl. and Du. reproduce the state of the plate shown in this 
exhibition, which is certainly later than M.'s 2d state, and there is a 
still later state which is not quite so bad as to make it unworthy of 
being looked at. There would seem to be, therefore, at least four 
states, viz-., ist and 2d as described by M. (for distinctive marks, see 
his Plate XI, Fig. 57); 3d as here shown; 4th in which the gable end 
of the building has been worked over, new dry-point work is observa- 
ble in the trees, and attempts have been made to strengthen the rocks 
to the left. 

193. The Coach Landscape. — B2i5;W2i2; Du 

212. — Assigned to between 1632 and 1640 by V..; rejected 
by M. and Bl. 

One state (?). Not procurable. 

A photogravure reproduction is given by Dutuit, who, however, also 
considers the piece doubtful. 

194. An Old Man in a high cap, asleep. — Bl 286; 
B 290 ; W 292; M 126; Du 287. — Signed: Rembrandt. 
Assigned to between 1632 and 1640 by V., to 1635 by M. 

One state only. Sewall Coll. 

" Somewhat doubtful," according to M. 

195. Landscape, with an obelisk. — Bl 328; B 227; 
W 224; M 324; Du 224. — Assigned to between 1632 and 
1640 by v., to 1650 by M. 

Two states ; 2d state shown. Sewall Coll. 



36 FIRST PRINT ROOM. 

196. Jacob and Laban. (Three Oriental Figures.) 

— BI7; B118; W122; M212; Du 119, — Signed, re- 
versed : Reitibrandt. f. Dated 1641. 

Two states; 2d state shown. Scivall Coll. 

197. The Angel Ascending from Tobit and his 
Family. — Bl 16; B 43 ; W 48; M 213 ; Du 46. — Signed : 
Rembratidt f. Dated 1641. 

Two states ; both shown : — 

(at.) I St state. Sewall Coll. 

Ip.) 2d state. Sewall Coll. 

198. The Virgin and Child on Clouds.— Bl 32; 
B 61; W65 ; M 211; Du 64. 

One state only. Gray Coll. 

199. The Baptism of the Eunuch. — Bl 69 ; B 98 ; 

W 103 ; M 210 ; Du loi. — Signed : Rembrandt, f. Dated 
1641. 
Two states ; 2d state shown. Sewall Coll. 

200. The Schoolmaster. (The Hurdy-Gurdy Player.) 

— BI99; B128; W131; M271; Du 128.— Signed: 
Rembrandt f. Dated 1641. 

One state only. Sewall Coll. 

201. The Star of the Kings. — Bl 85; B 113; W 
117 ; M 293 ; Du 114. — Assigned to 1641 by V., to 1652 
by M. 

One state only. Sewall Coll. 

202. The Large Lion Hunt. — Bl 86; B 114; W 
118; M 272; Du 115. — Signed: Rembrandt/. Dated 
1641. 

One state only. Sewall Coll. 

203. The Small Lion Hunt, with a lioness. — Bl 
87 ; B 115 ; W 119; M 273 ; Du 116. — Assigned to 1641 
by V. and by M. 

Two states ; 2d state shown. Sewall Coll. 



HEMSRAnDT^S ETCfllNGS. ^"^ 

204. Another Lion Hunt. Companion to No. 203. 

— Bl 88 ; B 116; W 120 ; M 274 ; Du 117. — Assigned to 
1 641 by V. and by M. 

One state only. Sewall Coll. 

The three " Lion Hunts," Nos. 202, 203, and 204, as well as No. 
205, are generally described as " in the manner of Rubens." 

205. Battlepiece. — Bl 89 ; B 117 ; W 121 ; M 275 ; 
Du 118. — Assigned to 1641 by V. and by M. 

Three states ; 2d state shown. Sewall Coll. 

206. Cornelis Claesz. Anslo. — Bl 170; B 271 ; W 
273; M 146; Du 254. — Signed: Retnbrandt f. Dated 
1641. 

Four states ; two shown : — 

(«.) 3d state. Sewall Coll. 

{b.) 4th state. Sewall Coll. 

207. Portrait of a Boy. — Bl 177; B310; W 311 ; 
M 148; Du 306. — Signed: Rembraiidt. f. Dated 1641. 

One state only. Sewall Coll. 

Called also, erroneously, according to V., " Portrait of William II." 

208. A Man with Crucifix and Chain. (The Writer.) 

— Bl 257; B 261; W 263; M 147; Du 277. — Signed: 
Retnbra7idt f. Dated 1641. 

Four states ; 2d state shown. Sewall Coll. 



209. A Man Playing Cards. — Bl 104; B 136; W 

137 ; M 269 ; Du 135. — Signed : Rembrandt f. Dated 
1641. 

Three states : — 

(«.) ist state. Sewall Coll. 

{b.) 2d state. Sewall Coll. 

(e.) 3d state. Sewall Coll. 

Impression i is partly washed with India ink. 



38 FIRS7 PRINT ROOM. 

210. View of Amsterdam. — Bl 313; B 210; W 
207 ; M 304 ; Du 207. — Assigned to 1641 by V., to 1640 
by M. 

One state only. Sewall Coll. 

About one quarter of an inch has been cut off on the left side of 
the impression shown. 

211. Landscape with a cottage and a hay-barn. — BI 
327; B 225; W 222 ; M 306; Du 222. — Signed: Rem- 
brandt f. Dated 1641. 

One state only. Gray Coll, 

212. Landscape with a mill sail. — Bl 326; B 226 ; 
W 223 ; M 307 ; Du 223. — Signed : Rembrandt/. Dated 
1641. 

One state only, Sewall Coll. 

213. The Mill. (Rembrandt's Mill.) —Bl 333 ; B 
233 ; W 230 ; M 305 ; Du 230. — Signed : Rembrandt f. 
Dated 1641. 

One state only. Sewall Coll. 

214. The Resurrection of Lazarus. (Small plate.) 
— Bl 47 ; B 72 ; W 76 ; M 215 ; Du 78. — Signed : Rem- 
brandt/. Dated 1642. 

One state only. Sewall Coll. 

There exists a reversed copy not described by M. 

215. The Descent from the Cross. A sketch. — 
Bl 57 ; B 82; W 87; M 216; Du 89. — Signed : Rem- 
brandt/. Dated 1642. 

One state only. Sewall Coll. 

216. St. Jerome, writing near a large tree. — Bl 74 ; 
B 103 ; W 108 ; M 223 ; Du 106. — Signed in 2d state : 
Rembrandt/. 13ated 1642 Q.) or 1648 Q). 

Two states ; 2d state shown. Sewall Coll. 



REMBRANDT'S ETCHINGS. 39 

V. specially says that the date is 1642, and not 1648. M. neverthe- 
less reads the latter date, and, on the evidence of the impression shown, 
he is certainly right. He thinks, however, that the etched work in this 
plate is earlier than the dry pointing (which includes the date), and 
bears a resemblance to the work of 1642. 



217. St. Jerome, in meditation. — BI 76; B 105; 
W no; M 214; Du 108. — Signed : Rembrandt/. Dated 
1642. 

Two states ; 2d state shown. Sewall Coll. 

218. The Spanish Gipsy. — Bl 83 ; B 120 ; W 124 ; 

M 285; Du 121. — Assigned to 1642 by V., to 1647 
by M. 

One state only. Shown in photogravure. From Bl.'s R. 

219. The Flute Player. — Bl 153 ; B 188 ; W 185 ; 

M 268; Du 185. — Signed in 2d state: Rembrandt/. 
Dated 1642. 

Four states ; two shown : — 

{a.) ist state. Shown in photogr. From Bl.'s R. 
{p.) 4th state. Sewall Coll. 

M. reads 1640, but the date is clearly 1642, with the 2 reversed. 

220. The Monk in the Cornfield. — Bl 152; B 

187 ; W 184 ; M 282 ; Du 184. — Assigned to 1642 by V., 
to 1646 by M. 

One state only. Not shown. 

221. The Shepherds in the Wood. (The Old Man 
Asleep.) — Bl 154; B 189; W 186; M 281; Du 18.6.— 
Assigned to 1642 by V., to 1646 by M. 

One state only. Not shown. 

222. A Man in an Arbor. — Bl 262 ; B 257 ; W 258 ; 
M 152; Du 273. — Signed: Rembrandt/ Dated 1642. 

One state only. Gray ColL 



40 FIRST PRINT ROOM. 

ii-if. Sketches of a tree, etc. — Bl 349; B 372 ; W 
366; M 154; Du 360. — Assigned to 1643 by V. for the 
whole, by M. for the tree. 

One state only. Sewall Coll. 

224. The Hog. — Bl 350; B 157; W 154; M 277; 
Du 153. — Signed: Rembrandt f. Dated 1643. 

Two states; ist state shown. Seivall Coll. 

11^. The Three Trees. — Bl 315 ; B212; W 209 ; 

M 309; Du 209. — Signed: Rembrandt. Dated 1643. 
One state only. 

(a.) Impression from plate. Seivall Coll. 

(b.) Counterproof . Sewall Coll. 

226. The Shepherd and his Family. — Bl 321 ; B 

220; W217; M310; Du 217. — Signed: Rembrandt f. 
Dated 1644. 
One state only. Sewall Coll. 

ivj. Abraham Speaking to Isaac. — Bl 5 ; B34; 
W 38 ; M 220; Du 39. — Signed: Rembrant (no d). 
Dated 1645. 

One state only. Sewall Coll. 

228. The Repose in Egypt. — Bl 31 ; B 58 ; W 63 ; 
M 218 ; Du 63. — Rembrandt, f. Dated 1645. 

One state only. Sewall Coll. 

229. St. Peter. — Bl 67 ; B 96; W loi ; M 219 ; Du 
99. — Signed: Rembrandt f. 1645. 

One state only. Sewall Coll. 

V. is particular to state that the date on this plate is 1655, and not 
1645.' On the impression shown, however, as well as on the reproduc- 
tions given by Bl. and Du., the date is very clearly 1645. 

230. An Old Man, meditating. — Bl in ; B 147; 
W 145; M 156; Du 143. — Assigned to 1645 by V., to 
1646 by M. 

Two states ; 2d state shown in photogr, F-^om Bl's R, 



REMBRANDT'S ETCHINGS. 4 1 

231. Jan Cornells Sylvius. — Bl 187; B 280; W 
282; M 155; Du 269. — Signed: Rembrandt. Dated 
1646. 

Two states ; 2d state shown. Sewall Coll. 

232. Rembrandt, drawing on a plate. — BI 228 ; W 
32; M 173; Du 32. — Signed: Rembrandt f. Dated 
1645 (or 1658?). 

One state only. Shown in photogravure. From Bl.^s R. 

The reproduction shown is not from the original, of which only one 
or two copies are known, but from a copy l)y Basan. On this copy 
the date is plainly 1645. ^- '^^^ Du. claim, however, that the original 
is dated 1658. "Doubtful," says V., " I do not believe it is by R." 
How this hideous and ill-drawn portrait came to be admitted among 
R.'s work at all, it would be difficult to say. Still, all the catalogues, 
except B., admit it, although they cannot even agree upon the meaning 
of the head covering worn by the man, one (W.) declaring it to be " a 
cap, the end of which comes down on the right "; a second (Bl.) " un 
bonnet de coton, dont la m^che penche sur le cote droit " (say a cotton 
nightcap); a third (M.) "a soft cap with a feather passing across the 
front," while the fourth (Du.), more guarded than his brethren, contents 
himself by describing it as " une espece de bonnet." If Basan has 
copied the signature with only approximate correctness, that alone ought 
to condemn the plate. 

233. Six's Bridge. — Bl 311; B 208; W 205; M 
313 ; Du 205. — Signed : Rembrandt/. Dated 1645. 

Three states ; 3d state shown. Sewall Coll. 

234. View of Omval. — Bl 312 ; B 209 ; W 206 ; M 
31 1 ; Du 206. — Signed : Rembrant (no d^. Dated 1645. 

One state only. 

(rt;.) Impression from the plate in its original con- 
dition. Sewall Coll. 
(b.) Impression from the disfigured plate. 

Sewall Coll. 

Impression d is the one described by M. from the collection of the 
Rev. Burleigh James. Mr. Haden says that " Omval is not a village, 
but a bend in the river Amstel, near Amsterdam," and that, therefore, 
the plate ought to be called " The Omval." V., on the contrary, him- 
self a Hollander, speaks of the subject quite explicitly as " the view 
of Omval, a village in the environ? of Amsterdain." 



42 FIRST PRINT ROOM. 

235. Landscape, with a man sketching. — Bl 320 ; 
B219; W216; M315; Du2i6. — Assigned to 1645 ^Y 
v., to 1646 by M. 

One state only. Sewall Coll. 

236. The Cottages near the Canal. (The Sail 
Boat.) — Bl 329; B228; W 225; M 314; Du 225. — 
Assigned to 1645 by V. and by M. 

Two states ; ist state shown. Scivall Coll. 

V. thinks this may be a view of Hillegom, the home of the Six family. 



237. The Boat under the Trees, (A Grotto with 
a Brook. The Boathouse.) — Bl 331 ; B 231 ; W 228 ; M 
312 ; Du 228. — Signed : Rembrandt. Dated 1645. 

One state only. (Late impression shown.) Sewall Coll. 



238. Study of a youth seated. (Study for the Prodi- 
gal Son.) — Bl 158 ; B 193 ; W 190 ; M 279 ; Du 190. — 
Signed : Rembrandt, f. Dated 1646. 

One state only. Sewall Coll, 

239. Study of a youth seated on the ground. — Bl 
160; B 196; W 193; M 278; Du 193. — Signed: Revi- 
brandt. f. Dated 1646. 

One state only. Sewall Coll. 



240. Studies of two boys; a go-cart, etc., in the back- 
ground. — Bl 159; B 194; W 191; M 280; Du 191. — 
Assigned to 1646 by V. and by M. 

Two states ; 2d state shown. Sewall Coll. 

M. claims that in the background we have a sketch " executed at a 
much earlier time, and which was entirely overlooked when R. worked 
these studies upon the plate," all of which is contradicted by the com- 
position of the plate and the way in which the cavity of the fireplace, 
instead of being " entirely overlooked," is made to serve a purpose in 
throwing the standing figure into relief. 



REMBRANDT'S ETCHINGS. 43 

241. A Beggar Woman. — BI 134; B 170; W 167; 
M 157 ; Du 166. — Signed: Rembrandt, f. Dated 1646. 

One state only. Sewall Coll. 

242. De Ledekant. — Bl 151 ; B 186; W 183; M 
283 ; Du 183. — Signed : Kcmbrandt f. Dated 1646. 

Three states. N'ot shoiun. 

243. Portrait of Jan Six. — Bl 184 ; B 285 ; W 287 ; 
M 159 J Du 267. — Signed: Rembrandt./. Dated 1647. 

Three states; two shown : — 

(rt.) 2d state. Gray Coll. 

{b.) 3d state. Sewall Coll. 

244. Portrait of Dr. Ephraim Bonus. (The Jew 
at the Baluster.) — Bl 172; B 278; \V280; M 158; Du 
256. Signed: Rembrandt./. Dated 1647. 

Two states ; 2d state shown. Gray Coll. 

245. Portrait of Jan Asselyn. — Bl 171; B 277 ; 
W 279; M 161 ; Du 255. — Signature and date incom- 
plete. Assigned to 1647 by V., to 1648 by M. 

Three states ; two shown : — 

{a.) ist state in photogravure. From Bl.'s R. 

{b.) 3d state. Gray Coll. 

Bl. describes four and speaks of a 5th state. 

246. Portrait of Dr. Jan Antonides Van der Lin- 
den. — Bl 181 ; B 264; W 266 ; M 167 ; Du 264. — As- 
signed to between 1647 ^"*^ ^^S^ by V., to 1653 by M. 

Six states ; state shown ? Sewall Coll. 

It is difficult to make out the states of this plate from the descriptions. 
The impression shown would appear to be between M.'s 3d and 
4th states. 

247. The Synagogue. — Bl 98 ; B 126; W 130; M 
288 ; Du 127. — Signed : Rembrandt./ Dated 1648. 

Three states; 2d (?) state shown. SeivallColl. 



44 FIRST PRINT ROOM. 

248, Medea. (The Marriage of Jason and Creusa.) 
— BI82; B112; W116; M 286; Du 113. — Signed and 
dated in 4th state: Rembrandt./. 1648. 
Five states ; four shown : — 

(d!.) I St state. Gray Coll. 

\b^ 3d state. Scwall Coll. 

(^.) 4th state. Sewall Coll. 

(//.) 5th state. Sewall Coll. 

M. describes Medea, who is seen advancing in the lower right cor- 
ner, as " holding a handkerchief to her face, as if weeping." The im- 
pressions shown demonstrate that this description is not correct. 



249. The Phoenix. (The Allegorical Tomb.) — Bl 
80; Bug; W 114; M 296; Du iii — Signed: Rcm- 
/^r^/z^/y; (apparently no/). Date read 1648 by V., 1658 
by M , still differently by others. 

One state only. Shown in photogravure. From Bl.^s R. 



250. Beggars at the Door of a House. — Bl 146; 
B 176; W 173; M 287; Du 172. — Signed: Rembrandt . f. 
Dated 1648. 

Two states ; 2d state shown : — 

(«.) Printed in black. Sewall Coll. 

(/'.) Printed in red. Gray Coll. 

251. Doctor Faustus. — Bl 84 ; B 270 ; W 272 ; M 
291; Du 259. — Assigned to between 1647 and 1650 by 
v., to 1651 by M. 

Three stales : — 

(a.) I St state. Savall Coll. 

{b.^ 2d state. Savall Coll. 

{c.) 3d state. Gray Coll. 



252. An Artist (R.?) Drawing from a Model. — 
Bl 157; B 192; W 189; M 284; Du 189. — Assigned to 
between 1646 and 1648 by V., to 1647 by M, 

Two states ; 2d state shown. Scwall Coll. 



REMBRANDT'S ETCHINGS. 45 

M. thinks that the work on the ist state of this abandoned plate is 
by R., and that possibly the additional work in the 2d state is by an 
assistant. Mr. Iladen opines (" Monograph," p. 31) that R. only laid 
in the subject, as shown in the unfinished part, and that Bol was 
charged with finishing it. In accordance with his theory, that R. ceased 
to avail himself of pupil work in his etchings about 1639, he assigns 
this plate to an earlier period than either V. or M. 



253. Rembrandt, drawing at a window. — Bl 235 ; 
B 22 ; W 22 ; M 160; Du 22. — Signed : Renibramit f. 
Dated 1648. 

Seven states ; two shown : — 

(flt.) 2d state. Shown in photogr. From BL's jR. 
(^.) 6th state. Sewall Coll. 

M.'s description of the states of this plate is most unsatisfactory. Bl. 
describes ten states, of which the examples shown seem to be respec- 
tively the 6th and 9th. M. thinks that the variations after his 3d state 
are not by R. 



254. Two Beggars, a man and a woman. — Bl 145 ; 
B 183; W 180; M 13; Du 179. — Assigned to about 
1648 by v.; to 1629 by M. 

One'^tate only. Shown in photogravure From BL's R. 



255. Sketches of Two Beggars. — Bl 147 ; B 182 ; 

W 179 ; M II ; Du 178. — Assigned to about 1648 by V., 
to 1629 by M. 

One state only. Shown in photogravure. From Bl.^s R. 

256. A Sick Beggar and his Wife. — Bl 148; B 
185; W 182; Du 181. — Assigned to about 1648 by V., 
rejected by M. 

One state only. Shown in photogravure. From Bl.'s R. 

257. The Fat Beggar. — Bl 149; B 184; W 181 ; 
M9; Du 180. — Assigned to about 1648 by V., to 1629 
by M. 

One state only. Shown in photogravure. From BL's R. 



46 FIRST PRINT ROOM. 

258. A Beggar, in a cloak, standing, a woman in the 
distance. — Bl 150; M 8 ; Du 182. — Assigned to about 
1648 by v., to 1629 by M. 

One state only. Shown in photogravure. From Bl.»s R. 

259. St. Jerome, reading. — Bl 75; B 104; W 109; 
M 234; Du 107. — Assigned to 1650 by V., to 1653 by M. 

Two states ; 2d state shown : — 

(«.) Early impression on dark paper. Sewall Coll. 

(/5.) Somewhat later impression washed here and 

and there with India ink. Gray Coll. 

This piece is usually said to be " in the manner of Diirer." Mr. 
Haden affirms that it is from a drawing by Titian, " differing in nothing 
from the etching except in the absence of the lion, and the presence of 
a recumbent figure of Venus in place of the saint." V. has it that " the 
landscape is quite in the style of the view of Ransdorp, Bl. 319 [No. 264 
of this catalogue], of which we here see also the tower." 

260. Jesus Appearing to His Disciples. — Bl 64; 
B 89; VV 94; M 225; Du 96. — Signed Rembrandt, f. 
Dated 1650. 

One state only. Sewall Coll. 

261. The Shell. — Bl 353 ; B 159 ; W 156 ; M 290 ; 
Du 155. — Signed: Rembrandt./. Dated 1650. 

Two states ; 2d state shown. Sewall Coll. 



262. A Young Man, with a game pouch. — Bl 253 ; 
B 258 ; W 259 ; Du 274. — Dated 1650. 

One state only. Shown in photogr. From Bl.^s R. 

Rejected by M., and generally doubted by the other cataloguers. The 
date upon the plate certainly is not by R. 



263. The Three Cottages. — Bl 318; B 217; W 
214; M 325; Du 214. — Signed: Rembrandt/. Dated 
1650. 

Three slates ; 2d state. Gray Coll, 



REMBRANDT'S ETCHINGS. 47 

264. Landscape, with a square tower. — BI 319 ; B 
218 ; W 215 ; M 321 ; Du 215. — Signed : RembraJidt. f. 
Dated 1650. 

Four states ; 4th state shown. Gray Coll. 

According to V., this is a view in Ransdorp. See No. 259. 



265. The Canal with the Swans. — Bl 335; B 
235 ; W 232; M 322; Du 232. — Signed: Rembrandt f. 
Dated 1650. 

Two states ; 2d state shown. Sewall Coll. 



266. Landscape, with a large boat. — Bl 336 ; B 236; 

W 233; M 323 ; Du 233. — Signed: Rembrandt./. 1650. 

Two states ; 2d state shown. Sewall Coll. 

Nos. 265 and 266, as the exhibition shows, form in reality the two 
halves of a little panorama. 



267. The Hunter. — BI314; B 211 ; W 208; M 329; 
Du 208. — Assigned to 1650 by V., to 1653 by M. 

Two states ; 2d state shown. Sewall Coll. 

Mr. Haden is of opinion that the motive for the background in 
this plate, as in several other plates, was appropriated by R. from some 
design by Titian or Campagnola. 



268. Landscape, with a ruined tower. — Bl 324 ; B 
223 ; W 220 ; M 317 ; Du 220. — Assigned to 1650 by V., 
to 1648 by M. 

Four states; ist state shown. Sewall Coll, 

According to V., this is a view of the village of Loenen. In later 
and more frequent states, the tower appears in a ruined condition, 
hence the name of the piece. The impression shown, it will be ob- 
served, has been cut on the right side, and then joined together again, 
but the pieces seem to be printed on paper of different quality. Curi- 
ously enough, the impression from which Bl.'s reproduction was made 
has evidently been cut and joined together again in precisely the same 
place. 



48 FIRST PRINT ROOM. 

269. Christ Healing the Sick. (The Hundred 
Guilders Piece.) — Bl 49 ; B 74; W 78 ; M 224 ; Du 77. 
— Assigned to about 1650 by V., to 1649 ^1 ^* 
Two states ; 2d state shown : — 

(a.) Impression slightly washed with India ink. 

Sewall Coll. 
(d.) Later impression ? Gray Coll. 

(c.) Very late impression, from the rusted plate. 

Gray Coll. 

According to Mr. Haden (" Monograph," p. 35), fine impressions 
from this celebrated plate in the 2d state are preferable to those in the 
1st state. There is a remarkable difference in the measurements given 
of this plate. All measurements of prints must necessarily be approxi- 
mate only, as the stretching of the dampened paper and its shrinkage 
upon drying are beyond control or calculation. Differences of one cen- 
timetre, however, seem unexplainable. The true approximate measure- 
ments, based upon the four impressions here shown, are : - .395 at the 
bottom; -.397 at the top; - .277 at the right; -.281 at the left. 
Only Bartsch and Claussin, and Dutuit, give measurements corresponding 
to these, viz., the two former (ignoring the difference between top and 
bottom and right and left) 14 p., 81. in breadth, lO p. 5 1. in height; 
the latter - .396 by 281. W. gives 15.20 inches at bottom, 15.30 at 
top, 10.90 for height; M. - .385 by- .279; Bl. - .387 by -.281. 

269 A. Christ Healing the Sick, as retouched by 
Capt. Wm. Baillie. 

(a.) The whole plate. Sewall Coll. 

(If.) The central group. Square top. Sewall Coll. 

(e.) Upper left hand group. Sewall Coll. 

(d.) Tower left hand group. Sewall Coll. 

(<?. ) Right hand group. Seivall Coll. 

{/.) The central group. Arched top. Sewall Coll. 

269 B. Christ Healing the Sick. Copies. 

(<z.) By Thomas Worlidge. Sewall Coll. 

{b.) By Leopold Flameng. Sewall Coll. 

{c ) By photogravure. Servall Coll. 



SECOND PRINT ROOM. 



REMBRANDT'S ETCHINGS, 

ARRANGED IN CHRONOLOGICAL ORDER ACCORDING TO 
C. VOSM^R'S LIST, Continued. (Cases i to id.) 



270. An Old Man, with his hands upon a book. — 
Bl 287 ; B 267 ; W 269 ; Du 281. — Assigned to between 
1640 and 1650 by V,, rejected by M. Not procurable. 

271. The Two Houses, with pointed gables. — Bl 
317; B2i4;W 211; Du 211. — Assigned to between 
1640 and 1650 by V., rejected by M. 

One state only. Shown in photogr. Front Bl.'s R. 

Bl. and M. both think that this etching may be by Philip de Koninck. 

272. The House with Three Chimneys. — Bl 
(under 339); B 250; W 246; Du 247. — Assigned to 
between 1640 and 1650 by V., rejected by M. 

One state only. Shown in photogr. From Bl.'s R. 

iT3^. Tobit Blind, feeling for the door, with a dog 
beside him. — Bl 15 ; B 42 ; W 46 ; M 226; Du 45. — 
S\^ned: Rembrandt/. Dated 1 65 1. 

Two states ; 2d state shown. Sewall Coll. 

iT^. Tobit Blind, feeHng for the door. — Bl 14; B 
153; W 47 ; M 180; Du 149. — Assigned to about 1651 
by v., to 1630 by M. 

Four states ; 2d state shown in photogr. Fro>n Bl.'s R. 



50 SECOND PRINT ROOM. 

275. The Flight into Egypt. Night effect. — Bl 
26 ; B 53 ; W 58 ; M 227 ; Du 58. — Signed : Rembrandt f. 
Dated 165 1. 

Four states ; two shown : — 

(a.) I St state in photogravure. From Bl.'s R. 

{b^ 4th state. Sewall Coll. 

276. Portrait of Clement de Jonghe. — Bl 180; 

B 272 ; W 274 ; M 164 ; Du 263. — Signed: Rembrandt./. 
Dated 1651. 

Six states ; three shown : — 

(fl!.) ist state. Sewall Coll. 

ij).') 3d state. Sewall Coll. 

(c.) 6th state. Sewall Coll. 

M. thinks that the alterations of the 3d and later stales were not 
made by R. 

277. The Goldweigher's Field. — Bl 334 ; B 234 ; 
VV 231; M 326; Du 231. — Signed: Rembrandt. Dated 
1651. 

One state only. Sewall Coll. 

A view, according to V., of the country seat of the Receiver Uyten- 
bogaert (The Goldweigher), with the city of Naarden in the left dis- 
tance. Mr. Haden would have it called "The Chateau," possibly 
" Six's Chateau." 

278. David Kneeling in Prayer. — Bl 13 ; B 41 ; 

W 45; M 232 ; Du 44. — Signed: Rembrandt./. Dated 
1652. 
Two states ; state shown t Sewall Coll. 

If the insignificant distinctions which separate the " states " of this 
plate are to be -taken into account, the impression shown will have to 
be placed between the ist and 2d states, for while the small white spot 
on the left of the plate has been worked over, the back of David's 
night-gown shows no " slipped stroke." 

279. Jesus Disputing with the Doctors — Bl 36 ; 

B 65 ; W 69 ; M 231 ; Du 68. — Signed : Rembrandt. /. 
Dated 1652. 
Three states ; 2d state shown. Sewall Coll. 



REMBRANDT'S ETCHINGS. 51 

280. Jesus Christ Preaching. (The Little La 
Tombe.) — Bl 39 ; B 67; W71; M 229; Du 71. — As- 
signed to 1652 by V. and by M. 

One state only : — 

(ar.) Impression from the plate with considerable 
bur still on it. Sewall Coll. 

{l>.) Impression after the bur had all worn off. 

Sewall Coll. 

This plate is sometimes called " Le Petit La Tombe " (The Little La 
Tombe), which has been improved into " La Petite Tombe " (The Little 
Tombstone, or Tomb). It is said to have been owned in R.'s time by a 
dealer in prints, named La Tombe or de la Tombe, and, to distinguish 
it, possibly, from other larger plates belonging to him, was called " The 
Little La Tombe," which became in French "le petit La Tombe." 

281. Peasant with his Wife and Children. — Bl 
120 ; B 131 ; W 134 ; M 153 ; Du 131. — Assigned to 1652 
by v., to 1643 by M. 

One state only. Sewall Coll. 

282. The Vista. (The Bouquet of Trees.) — Bl 323 ; 
B 222 ; W 219; M 328; Du 219. — Signed, in 3d state: 
Rembrandt f. Dated 1652. 

Three states ; 3d state shown. Sewall Coll. 

283. Landscape, with an old square tower. — Bl 338 ; 
B 238; W 235; Du 235. — Signed: Remb. f. Dated 
1653. 

One state only. Shown in photogravure. From Bl.'s R. 

The date is hardly legible. M., who rejects the print, is inclined to 
read it 1651. 

284. The Circumcision. — Bl 20; B47; W52; M 
239; Du 52. — Signed and dated twice: Rembrandt, f. 
1654. 

Two states ; both shown : — 

(^.) 1st state. Sewall Coll. 

ib.) 2d state. Sewall Coll, 



52 SECOND PRINT ROOM. 

285. The Nativity. — Bl 18 ; B 45 ; W 50; M 238 ; 
Du 50. — Signed : Rembrandt./. Assigned to 1654 by V. 
and by M. 

Two states ; both shown : — 

{a.) ist state. Sewall Coll. 

(b.) 2d state. Sewall Coll. 

286. The Flight into Egypt. (The Holy Family 
Crossing a Rill.) — Bl 28 ; B 55 ; W 60 ; M 240 ; Du 60. 
— Signed: Rembrandt/. Dated 1654. 

One state only. Sewall Coll. 

287. The Flight into Egypt, in the manner of 
Elsheimer. — Bl 29 ; B 56; W 61; M 236; Du 61. — 
Assigned by V., for the figures, to about 1652 to 1654, by 
M. to 1653. 

Five states; 5th state shown (?). Sewall Coll. 

It is well known that this plate was originally etched by Hercules 
Seghers, and only altered and adopted or appropriated by R. The 
changes in the 4th and later states possibly not by K. 

288. The Holy Family with the Cat, or with the 
serpent. — Bl 34 ; B 63 ; W 67 ; M 241 ; Du 66. 

Two states ; ist state shown. Sewall Coll. 

For a list of the plagiarisms charged against R., see Mr. Iladen's 
" Monograph," pp. 18 and 19. In this plate he is said to have imitated 
Mantegna's " Virgin and Child," B. 8. The reduced copy of this 
engraving, exhibited below the etching, will enable the visitor to judge 
for himself of the extent of imitation practised by R. in this case. 

289. Jesus Disputing with the Doctors. The 

smaller plate. — Bl35;B64; W 68 ; M 245 ; Du 67. — 
Signed : Rembrandt. /. Dated 1654. 

One state only. Sewall Coll. 

290. Jesus Brought Home from the Temple. 

(Jesus and his parents returning from Egypt.) — Bl 38 ; B 
60 ; W 64 ; M 244 ; Du 70, — Signed : Rembrandt. / 
Dated 1654. 
On? state only. Sewall Coll, 



REMBRANDT'S ETCHINGS. 53 

291. The Descent from the Cross. Night effect. 
— Bl 58 ; B 83 ; W 88 ; M 242 ; Du 90. — Signed : Rem- 
brandt./. Dated 1654. ' 
One state only : — 

(a.) Early impression, showing considerable bur. 

Sewall Coll. 
{b) Later impression. Sewall Coll, 

M. describes the figure spreading a sheet to receive the body as "a 
woman with a headdress like that of a nun." The impressions here 
exhibited, and more especially impression b, clearly show that it is an 
elderly man with wrinkled brow and heavy beard. 



292. The Entombment.— Bl 61; B 86; W 91; 

M 233 ; Du 93. — Assigned to 1654 by V., to 1652 by M. 
Four states; 3d state shown. Sewall Coll. 

The impression exhibited has in parts been washed with India ink. 
The 4th state, M. thinks, is not due to R. 



293. Jesus and the Disciples at Emmaus. — Bl 
63 ; B 87 ; W 92 ; M 237 ; Du 94. — Signed : Rembrandt./. 
Dated 1654. 
Two states ; both shown : — 

(as.) ist state in photogravure. From Bl.^s R. 

(b.) 2d state. Savall Coll. 



294. The Kolf Players. — Bl 97; B 125; W 129; 
M 294; Du 126. — Signed: Rembrandt /. Dated 1654. 
Two states ; both shown : — 

(fl!.) 1st state. Sewall Coll. 

(^.) 2d state. Sewall Coll. 



295. Portrait of Titus, R.'s Son.— Bl 236; B 11; 
W II ; M 165 ; Du 11. — Assigned to about 1652 to 1654 
by v., to 1652 by M. 

One state only. Shown in photogravure. 

From Bl.'s R, 



54 SECOND PRINT ROOM. 

296. Four Plates for a Spanish Book (i. e. 

Menasseh-Ben-Israel's " Piedra gloriosa ") . — Bl 8 ; B 36 ; 
W 40; M 247; Du 47. — Signed: Rembrandt, f. Dated 1655. 

A. The Image which Nebicchadnezzar saw. 

Five states ; 5th state shown. Se^vall Coll. 

B. EzekieVs Vision. 
Three states; 3d state shown. 

{a.) Impression on paper. Sewall Coll. 

{b.) Impression on vellum. Sewall Coll, 

c. Jacobs Ladder. 
Three states ; 2d state shown. Sewall Coll. 

D David and Goliath. 
Three states ; 3d state shown. Sewall Coll. 

297. The Agony in the Garden. — Bl 50; B 75 ; 
W 79 ; M 251 ; Du 82. — Signed: Rembrandt./. Dated 
165 . — Assigned to 1655 by V., to 1657 by M. 

One state only. Sewall Coll. 

The last figure is wanting in the date. 

298. Abraham's Sacrifice. — Bl 6; B 35; W 39; 
M 246 ; Du 40. — Signed : Rembrandt f. Dated 1655. 

One state only. Sewall Coll. 

Mr. Haden makes Gerbrand van den Eeckhout the author of this 
composition. 

299. Christ presented to the People. — Bl 51; 

B 76 ; W 80 ; M 248 ; Du 83. — Signed and dated in the 
6th state : Rembrandt/. 1655. 
Seven states ; three shown : — 

(a.) I St state. Flameng's copy. Sewall Coll. 

{b.) 3d state. Sewall Coll. 

(c. ) 7 th state. Sewall Coll. 

M. opines that the variations after the 4th state are not by R., an 
opinion evidently not shared by Bl. A remote resemblance in the gen- 
eral ordering of the plate to Lucas van Leyden's engraving of the same 
scene, has caused it to be spoken of as " in the manner of Lucas van 
Leyden." The small autotype of Lucas's composition, placed alongside 
of R.'s etching, or rather dry-point, will enable the visitor to form an 
independent judgment of this charge of plagiarism. 



REMBRANDT'S ETCHINGS. 55 

300. The Three Crosses. —Bl 53 ; B 78 ; W81 ; M 

235 ; Du 85. — Signed and dated in the 3d and later states : 
Rembrandt, f. 1655. 

Five states ; two shown : — 

(«.) 3d state in photogravure. From JBL's R. 

\b.) 4th state. With a margin. Edw. W. Hooper. 

{c.) 4th state. On brownish paper. Sewall Coll. 

Impression b is shown framed on a stand on the table. M. and 
others read the date 1653, but the line which apparently makes a 3 
of the second 5 is evidently part of a shading line in the foreground. 
It is well known that the theories and differences of opinion called forth 
by this plate are of the most extraordinary kind, and students will not 
fail, therefore, to read what has been said about it by Hamerton, Blanc, 
Iladen (" Monograph," pp. 37 and 51), and others. 

301. The Little Goldsmith. —Bl 94; B 123 ;W 127; 
M 295 ; Du 124. — Signed : Rembrandt f. Dated 1655. 

One state only. (Two impressions shown.) Sewall Coll. 

v., overlooking the name and date, which are almost illegible, assigns 
this plate to 1654. 

302. Portrait of Thomas Jacobsz. Haring. 

(Young Haring.) — Bl 179 ; B 275 ; W 277 ; M 169 ; Du 
262. — Signed: Rembrandt./. Dated 1655. 
Five states ; three shown : — 

(a.) ist state, in photogravure. From Bl.^s R. 

(/a) 2d state. Sewall Coll. 

(f.) 4th state. Gray Coll. 

M. doubts whether the 2d state is by R., and ascribes all later states 
to other hands. 

303. Portrait of Jacob Haring. (Old Haring.) — 
Bli78;B274; W 276 ; M 168 ; Du 261. — Assigned to 
1655 by V. and by M. 

One state only ? Sewall Coll. 

W. and Bl. describe three states. The impression exhibited, which is 
on vellum (or on pig-skin?), shows certain peculiarities which seem to 
distinguish it from these states, and place it between the 2d and 3d. 
Notice especially the absence of the harsh dry-point lines in the face 
and hair. The frequent occurrence of impressions on vellum about 
this time is worthy of remark. One of the plates for a Spanish book 
is printed on it (1655), and it was used for some of the earlier states 
of the Three Crosses. See also next number. 



$6 ^ECO^TD PRINT ROOM. 

304. Portrait of Abraham Francen. — (Frans, 
Fransz). — Bl 176 ; B 273 ; W 275 ; M 172 ; Du 260. — As- 
signed to probably 1655, certainly not before 1654, by V., 
to 1656 by M. 

Ten states ; three shown : — 

(«.) 4th state. On vellum (or pig-skin ?). Gray Coll. 
{b.) 8th state. Sewall Coll. 

{c.) loth state. Seivall Coll. 

M. thinks that after the 4th state, the plate was worked upon by 
other hands. 

305. Abraham Entertaining the Angels. — Bl 2 ; 
B 29 ; W 36 ; M 250 ; Du 36. — Signed : Rembrandt, f. 
Dated 1656. 

One state only. Sewall Coll. 

306. Portrait of John Lutma, the Elder. — Bl 182 ; 

B 276; W 278 ; M 171 ; Du 265. — Signed and dated in 
2d state : Rembrafidt . f. 1656. M. places the ist state a 
year earlier. 

Three states ; two shown : — 

(a.) I St state in photogravure. M. of F. A. 

(^.) 2d state. Sewall Coll. 

M. thinks that the additions in the 2d state are not by R., for which 
opinion he is taken to task by Mr. Haden (" Monograph," p. 51). 

307. Portrait of Dr. Arnoldus Tholinx. (Pieter 
vanTol; the Advocate Tolling.)— Bl 188; B 284 ; W 
286; M 170; Du 270. — Assigned to between 1654 and 
1656 by v., to 1655 by M. 

Two states ; 2d state shown in photogr. From Bl.^s R. 

308. St. Francis Praying. — Bl 78 ; B 107 ; W 112 j 
M 252 ; Du 109. — Signed : Rembrandt./. Dated 1657. 

Two states ; 2d state shown. Sewall Coll. 

This is one of the prints for which, according to Mr. Iladen, R. 
adopted a background from some design l)y Titian or Campagnola. A 
remarkably fine impression, treated almost like a monotype in the wip- 
ing, is in the collection of Mr. Theodore Irwin, of Oswego, N. Y. 



REMBRANDT'S ETCHINGS. §7 

309. The Presentation in the Temple. A dark 
print. — Bl 23 ; B 50 ; W 55 ; M 243 ; Du 55. — Assigned 
to between 1656 and 1658 by V,, to 1654 by M. 

One state only. Seivall Coll. 

310. Jesus and the Samaritan Woman. Arched. 

— J]l 45; B 70; W 74; M 253; Du 72. — Signed and 
dated in 3d state : Rembrandt f \^^^. 

Three states; 3d state shown. Sewall Coll. 

M. believes the 3d state to show work by a later hand. 

311. The "Woman at the Stove. — Bl 161 ; B 197 ; 

W 194 ; M 299 ; Du 194. — Signed : Rembrandt f. Dated 
1658. 

Six states ; three shown : — 

(a.) 2d state in photogravure. From Bl.^s R. 

(b.) 3d state. Sewall Coll. 

{c.) 6th state. Setvall Coll. 

It has been suggested that the model which served for this and the 
succeeding studies of women was R.'s second wife (?), Hendrickie 
Jaghers or Stoffels. See, however, V., " Rembrandt," p. 358. 

312. The Bather. — Bl 163 ; B 199 ; W 196 ; M 298 ; 
Du 196. — Signed: Rembrandt. f. Dated 1658. 

Two states ; 2d state shown. Sewall Coll. 

313. A Woman with her feet in the water. — Bl 164; 
B 200; W197; M 297; Du 197. — Signed: Rembrandt/. 
Dated 1658. 

One state only. Sewall Coll. 

314. A W^oman lying on a couch. (The Negress.) 

— Bl 169; B 205 ; W 202; M 300; Du 202. — Signed: 
Rembrandt./. Dated 1658. 

Three states ; 3d state shown. Sewall Coll. 

315. Antiope and Jupiter. — Bl 167; B 203; W 
200 ; M 301 ; Du 200. — Signed : Rembrandt. /. Dated 
1659. 

Two states ; 1st state shown. Sewall Coll. 



58 SECOND PRINT ROOM. 

316. St= Peter Healing the Cripple. (St. Peter and 
St. John at the Gate of the Temple.) — Bl 66; B 94; W 
98; M 254; Du 97. — Signed: Rembrandt/. Dated 
1659. 

Four states ; (?) state shown. Sewall Coll. 

It is impossible, from the confused and insufficient descriptions, to 
make out the states of this plate. The impression shown is certainly of 
a later state. The wonder is that the plate is not among those classed 
as doubtful by the cataloguers. It is one of the worst with which R.'s 
name is connected. Note, for only one thing, the figure of St. John, 
muffled up in a cloak like the traditional Italian brigand of the stage, 
posed in an awkward contortion, and drawn like a bundle of clothing, 
without any feeling for the human figure. 

317. The Landscape with the Palisades. — Bl 
343 ; B 247 ; W 243 ; Du 244. — Dated 1659. Rejected 
by M. and doubted by others. 

One state only. Shown in photogravure. From Bl.'s R. 

318. The "Woman with the Arrow. — Bl 166 ; 

B 202 ; W 199 ; M 302 ; Du 199. — Signed : Rembradt f. 
(no n). Dated 1661. 
Three states (?) ; 2d (?) state shown. Sewall Coll. 

The tinting observable in the impression shown is due to ink left 
upon the plate in printing. Bl. and B. describe only one state, W. 
describes two, M. reduces W.'s states to the rank of 2d and yX, and 
describes a new ist. This is, however, as he himself says, " a trial proof." 
The only difference between it and his 2d state consists in the deepen- 
ing of a shadow. It is clear, therefore, that it is not " a state " at all. 
M. thinks that this was the last plate etched by R. 

319. Portrait of Coppenol. (The Large Coppenol.) 
— Bl 175 ; B 283 ; W 285 ; M 174 ; Du 258. — Assigned to 
1661 by v., to 1658 by M. 

Six states ; two shown : — 

(a.) 3d state. day Coll. 

(^.) 6th state. Sewall Coll, 

See No. 77 of this catalogue. 



REMBRANDT'S ETCHINGS. 59 



THE FOLLOWING PIECES ARE LEFT UNCLASSIFIED BY 
V. (Cases 9, 11, and 13, 15.) 

320. Three Profiles of Old Men. — Bl 303 ; B 374 ; 
W 368 ; M 12 ; Du 362. — Assigned by M. to 1629. 

One state only. Shown in photogravure. From BL^s B. 

321. An Old Woman in a veil. — Bl 243; B 358; 
W 352 ; M 68 ; Du 346. — Assigned by M. to 1631. 

Two states ; 2d state shown. Sewall Coll. 

322. A Man Grimacing. — Bl 263 ; B 308 ; W 309 ; 
M 60 ; Du 304. — Assigned by M. to 163 1. 

Three states ; 2d state shown. Sewall Coll. 

All but the 1st state probably retouched by a later hand, according 
to M, 

323. Head of a Man, small, with a grotesque hat. 
(Slave with a High Hat.) — Bl 296 ; B 302 ; W 302 j 
M 81 ; Du 298. — Assigned by M. to 163 1, 

Two states ; 2d state shown. Sewall Coll, 

324. An Old Man, with white beard, and fur cap. — 
BI278; B3i2;W3i3; M 64 ; DU308. — Assigned by M. 
to 1631. 

Two states ; 2d state shown. Sewall Coll. 

325. An Old Man, with head bowed down. — Bl 300 ; 
B 296 ; W 296; M 95 ; Du 292. — Assigned by M. to 
1632. 

One state only. Sewall Coll. 

326. An Elderly Man, with his underlip thrust out. — 
Bl 259 ; B 305 ; W 305 ; M 119 ; Du 301. — Assigned to 
1635 by M. 

Two states ; ist state shown. Sewall Coll. 

V. thinks this piece " very doubtful." 



60 SECOND PRINT ROOM. 

327. The Large Tree beside the House. Morn- 
ing effect. — Bl 310; B 207 ; W 204; M 303; Du 204. 
— Assigned by M. to 1640. 

One state only. Shown in photogravure. From BlJ's R. 

328. The Draughtsman. — Bl 100 ; B 130 ; W 133 ; 
M 270; Du 130. — Assigned by M. to 1641. 

Two states; ist state shown. Sewall Coll. 

329. An Old Woman Reading. — Bl 248 ; B 362 ; 

W 356 ; M 149 ; Du 350. — Assigned by M, to 1641. 
One state only. Shown in photogravure. From Bl.'s R. 

330. A Young Man, wearing a hat. — Bl 256 ; B 330 ; 
W 327 ; M 163 ; Du 322. — Assigned by M, to 1651. 

One state only. Shown in photogravure. From Bl.^s R, 

331. Sketches of a horse, a grove, etc. — Bl 348 ; B 
364 ; W 358 ; M 166; Du 352. — Assigned by M. to 1652. 

One state only. Shown in photogravure. From Bl.'s R. 

332. An Elderly X^an, wearing a cap with earflaps. — 
Bl 295 ; B 323 ; W 321 ; Du 316. — Rejected by M. 

One state only. Shown in photogravure. F7-om BlJs R. 

333. An Old Man, widi a pointed beard. — Bl 306 ; 
W 334. — Rejected by M. 

One state only. Not procurable. 

Although Bl. describes this piece, he nevertheless also rejects it. 

334. Head of a Man, with curly hair. — Bl 307 ; W 
336. — Rejected by M. 

One state only. Not procurable. 

This again Bl. describes, but nevertheless rejects. 

335. The Landscape with the Little Man. — Bl 
339 ; B 239; W 237 ; Du 237. — Rejected by M. 

One state only. Not procurable. 

Rejected by Bl. also, although he describes it. 



REMBRANDT'S ETCHINGS. 6 1 

336. A Landscape, with a fisherman in a boat. — Bl 
341 ; B 243 ; W 239 ; Du 240. — Rejected by M. 

One state only. Shown in photogravure. FromBlJs R. 

337. The Village Street. — Bl 347 ; B 254 ; W 250 ; 
Du 251. — Rejected by M. 

One state only. Shown in photogravure. From Bl.'s R. 

Bl. is inclined to think that this is the work of a child, perhaps of 
Titus. 

338. An Old Man, in a cap. — Bl 304. 

One state only. Shown in photogravure. From Bl.^s R. 

Described by Bl. only, and doubted by him. 

339. An Old Man, in a fur cap. — BI305. 

One state only. Shown in photogravure. From BlJs R. 

Like No. 338, described by Bl. only, and doubted by him. 



THE FOLLOWING PIECES ARE EITHER EXPLICITLY 
REJECTED BY V., OR TACITLY OMITTED BY HIM. 
(Cases 17, 19.) 

340. Rembrandt. — Bl 230; B 338 ; W 30 ; M 7 ; Du 
30. — Monogram apparently RHL. Dated 1629. The 
whole reversed. 

One state only. Shown in photogravure. From BL's R. 

341. A Philosopher with an hour-glass. — Bl 113; 
B 318; W 318 ; M 15 ; DU313. — R H 1630, said to be on 
2d state. 

Two (or three .'') states ; (?) state shown. Sewall Coll. 

The impression shown does not agree with any of the descriptions 
of states, neither do the reproductions given by Bl. and by Du. As 
this is evidently surface printing, i. c, printing from a relief block cut 
either on wood or on metal, some queer " plugging " must have been 
done for the pleasure of manufacturing the various states described. 



62 SECOND PR/NT ROOM. 

342. The Onion Woman. — Bl 102 ; B 134; M 66 ; 
Du 133. — Marked in 2d state : Rt 1631. 

Two states ; 2d state shown, Sewall Coll. 

M. does " not hesitate to attribute this print to R." The monogram 
and date have little of the character of those seen on undoubted 
works. 

343. A Young Man wearing a cap. — BI 297 ; B 322 ; 

W 320 ; M 46 ; Du 315. — Marked in ist state : RH 1631. 
Two states ; 2d state shown in photogr. From Bl.^s R. 

344. An Old Man with square beard and high fore- 
head. — Bl 279; B3i4;W3i5;M59; DU310. — Assigned 
by M. to 1631. 

Two states ; 2d state shown in photogr. From BL's R. 

345. An Elderly Man with a bushy beard. — Bl 277 ; 
B 297 ; W 297 ; M 61 ; Du 293. — Monogram apparently 
RH. Dated 1631. 

Three states ; 2d state shown in photogr. From Bl.^s R. 

346. Rembrandt's Mother in widow's dress. — Bl. 
197 ; B 344 ; W 340 ; M 92 ; Du 333. — Signed : Rembrandt./. 
Assigned by M to 1632. 

One state only. Sewall Coll. 

347. Jacob Lamenting the Supposed Death of 
Joseph. — Bl 10; B 38; W 42; M 189; Du 42. — Rem- 
brant (no d) van Rijnft. Assigned to 1633 by M. 

One state only. Sewall Coll. 

M. thinks this plate may possibly be by Van Vliet. The signature 
is certainly peculiar. " It only occurs once again in these etchings," 
savs M., " . . . the larger Resurrection of Lazarus." This, however, 
is not strictly true, as the comparison will show. See No. 69 of this 
catalogue. 

348. Two Travelling Peasants. — Bl 1 10 ; B 144 ; 
W 144; M 104; Du 142. — Assigned by M. to 1634. 

One state only. Sewall Coll. 



REMBRANDT'S ETCHINGS. 63 

349. Philosopher in Meditation. — BI 112; B 148; 
W 146 ; M 276 ; Du 144. — Assigned by, M. to 1642. 

Five states \ 3d state shown. Sewall Coll. 

There is a pretty close copy of this print in the Sewall Collection. 
No copies are mentioned by M. 

350. Female Peasant holding a jug. — Bl 144; 
B 181 ; W 178 ; Du 177. — Attributed to Lievens by M. 

One state only. Shown in photogravure. From Bl.'s R. 

351. Male Peasant with a basket by his side. — Bl 
143 ; B 180 ; W 177 ; Du 176. — Attributed to Lievens by 
M. 

One state only. Sewall Coll. 

352. A Young Woman, reading. — Bl 247 ; B 361 ; 
W 355 ; Du 349. — Rejected by M. 

One state only. Not promrable. 

Rejected also by Bl., although he describes it. 

353. A Young Man in a turned-up hat. — Bl 254 ; B 
329 ; W 326 ; Du 321. — Rejected by M. 

Two states ; 2d state shown in photogr. From Bl.'s R. 

354. The Big Tree. — Bl 340 ; B 241 ; W 238 ; Du 
238, — Rejected by M. 

One state only. Shown in photogravure. From Bl.'s R. 

355. A Cottage with a Barn filled with Hay. — 
Bl 344; B 248 ; W 244; Du 245. — Rejected by M. 

One state only. Shown in photogravure. From Bl.'s R. 

356. The Mother of Rembrandt. — Bl 194 ; B 353 ; 

Du 342. 

States (?) . Not procurable. 

This plate is described by the older cataloguers, and after them by 
some of the later. No impressions, however, can now be found, and it 
is a question whether the plate ever existed. This is only one of several 
similar cases. 



64 SECOND PRINT ROOM. 

357. Portrait of Jan Six. — Bl 185, 

Two states (?). 2d (?) state, shown in photogravure. 

From Bi:s R. 
Described only by Bl. 

358. The Nail Cutter. (Bathseba.) — B 127. 
One state only. Sewall Coll. 

Described only by B. Rejected by all later writers. 

359. Cupid, — B 132. 

One state only. Sewall Coll. 

Described only by B. Rejected by all later writers. 

360. The Hour of Death. — B 108. 

Two states ; 2d state shown. Gray Coll. 

Attributed to P'erdinand Bol by all later writers. 

361. The Pen Cutter. — Daulby 361. 

States (?). Sewall Coll. 

This piece is attributed to R. by Daulby, but rejected by all other 
writers. 



ETCHINGS, ENGRAVINGS, ETC. 

EXECUTED FROM PAINTINGS AND SKETCHES BY REM- 
BRANDT. (Cases 30-39, 20-25, -^^'i^ 27.) 



The following etchings, etc., are arranged chonologi- 
cally, in the order of the years in which R. executed, or is 
supposed to have executed, the originals which they trans- 
late. It has been impossible, however, to exhibit them in 
the order of the catalogue, owing to considerations of size, 
etc. For this reason the case number is given after each 
title, which will enable the visitor to find any given number 
without difficulty. Cases 30^to 39 are in the southern half 
of the room, cases 20 to 25, and 27jn the northern half. 



ETCHINGS, ETC., AFTER REMBRANDT. 65 

362. St. Paul in Prison. (Case 20.) — Dated 1627. 

— Museum at Stuttgart. — Etched by N. Baldinger. 

S. R. Koehler. 

The earliest known dated picture by R. Compare No. 54 of this cat- 
alogue. 



363. The Money Changer. (Case 20.) — Dated 
1627. — Berlin, Gallery. — Etched by Wm. Unger. 

S. R. Koehler. 

Not catalogued by V. See Dr. W. Bode, " Rembrandt's friiheste 
Thatigkeit," in " Graphische Kunste," Vol. Ill, p. 49 et seq. 



364. St. Jerome in a Grotto. (Case 20.) — As- 
signed to about 1629 to 1630 by V. — JBerlin, Gallery. — 
Etched by J. J. Van Vliet in 1631. (Shown in photo- 
gravure.) S. R. Koehler. 

365. Hermit (or Loth?) in a Grotto. (Anchises 
at the burning of Troy.) (Case 20.) — Dated 1630. — 
Cesar Collection (in Schmidt's time). — Etched by G. F. 
Schmidt. Gray Coll. 



366. Portrait of an Old Man. (Case 20.) — Dated 
1630. — Cassel Gallery. — Etched by Wm. Unger. 

S. R. Koehler. 



367. The Entombment of Christ. (Case 20.) — 
Dated 1630. — British Museum. — Heliotype. 

S. R. Koehler. 
See No. 69 of this catalogue. 



368. Loth and his Daughters. (Case 20.) — Dated 
1631. — Etched by J. J. Van Vliet. (Shown in photogra- 
vure.) S. R. Koehler. 

See the original etching under No. 432. 



66 SECOND PRINT ROOM. 

369. Loth and his Daughters. (Case 20.) — As- 
signed to about 1 63 1 by V. — Collection of Prince Henry 
of Prussia (in Schmidt's time). — Etched by G. F. 
Schmidt. Gray Coll. 

370. The Baptism of the Eunuch. (Case 21.) — 
Assigned to about 1631 by V. — Etched by J. J. Van 
Vliet in 1631. (Shown in photogravure.) S. R, Koehkr. 

371. Holy Family. (Case 21.) — Dated 1631. — 
Munich, Pinakothek. — Etched by P. Halm. S. JR. Koehler. 

Not catalogued by V. See Dr. W. Bode, as under No. 363. 

372. Dr. Nicolas Tulp's Anatomical Lecture. 
(Case 30.) — Dated 1632. — The Hague, Museum. — 
Etched by J. P. de Frey. Gray Co//. 

ST^Pi.. The Same. (Case 21.) — Etched by Wm. 
Unger. S. R. Koeh/er, 

373. Maurits Huygens, Secretary of the Council 
of State. (Case 21.) — Dated 1632. — Hamburg, Wessel- 
hceft Collection.— Etched by W. Hecht. S. R. Koeh/er. 

374. Study of the Head of an Old Man. (Case 
38.) — Dated 1632. Oldenburg, Gallery. — Etched by 
L. Kuhn. S. R. Koeh/er. 

Not catalogued by V. See Dr. W. Bode, " Bilderlese aus kleineren 
Gemaldesammlungen," Vienna: 1885, etc. 

375. Portrait of a Young Dutch Woman. (Case 
21.) — Dated 1632. — Vienna, Academical Gallery. — 
Etched by Wm. Unger. S. R. Koeh/er. 

Not catalogued by V. See "Zeitschrift fur bildende Kunst," Vol. 
XIll, p. 224. 

376. Philosopher in Contemplation. (Case 30.) 
— Dated 1633. — Paris, Louvre. — Engraved by Caronni 
and Longhi. Gray Co//. 



ETCHINGS, ETC., AFTER REMBRANDT. 6/ 

377. Philosopher in Meditation, (Case 31.) — 
Dated 1633. — Paris, Louvre. — Engraved by Cozzi and 
Longhi, Gray Coll. 

378. Man Studying. (Case 21.) — Dated 1633. — 
Urunswick, Gallery. — Etched by Wm. Unger. 

S. R. Koehler. 

Dr. W. Bode, "Zeitschrift fijr bildcnde Kunst," Vol, V, p. 175, reads 
the date, which is injured, 1633. V. assigns the picture to al)out 1645. 

379. Saskia Smiling. (Rembrandt's Daughter.) 
(Case 31.) — Dated 1633, — Dresden, Gallery. — Lithogr, 
by Hanfstangl. Gray Coll. 

It is hardly necessary to say that the second title is erroneous. In 
1633 R. was himself only twenty-six years old. 

380. Portrait of a Gentleman. (Borgomastro 
Olandese ) (Case 32.) — Dated 1633. — Casa Mamfrini 
(in 181 1). — Engraved by G. Longhi. Gray Coll. 

381. Saskia, R.'s Wife. (Case 21.) — Dated 1633. 
Berlin, Print Cabinet. — Etched by Wm, Unger. 

S. R. Koehler. 

Silverpoint drawing on parchment. See about the curious discrep- 
ancy in the date, V., " Rembrandt," 2d ed,, pp. 132 an<I 133, and 
"American Art Review," Vol. II, Div. 2, pp, 112-114, 

382. The Shipbuilder and His Wife. (Case 32.) 
— Dated 1633. — Buckingham Palace. — Mezzot. by C. 
H. Hodges. Sewall Coll. 

383. Portrait of an Old Lady. (Case 21.) — Dated 
1634, — London, National Gallery. — Etched by Paul 
Rajon. S. R. Koehler. 

384. Rembrandt. (Count Horn.) (Case 21.) — 
Dated 1634. — Florence, Pitti Palace. — Etched by G. F. 
Schmidt. Gray Coll. 

See No. 471, 



68 SECOND PRINT ROOM. 

385. Young Lady with Flowers. (Saskia ) (Case 
22.) — Dated 1634. — St. Petersburg, Hermitage. — 
Etched by N. Massaloff. S. R, Koehler. 

386. Samson Threatening his Father-in-Law. 

(Duke Adolphus of Guelders threatening his father.) 
(Case 22.) — Date read 1635 by V. — Berlin, Gallery. — 
Etched by G. F. Schmidt. Gray Coll. 

387. Tobias and His Wife. (Case 22.) — As- 
signed to about 1635 to 1640 by V. — Etched by G. F. 
Schmidt. Gray Coll. 

388. A Warrior (Officer). (Case 33.)— Dated 
1635, — Cambridge, Fitz-William College, — Mezzot. by 
Wm. Pether. Gray Coll. 

389. Repose During the Flight to Egypt. (Case 
22.) — Assigned to about 1635 to ^^3^ by V. — Berlin, 
Gallery. — Etched by Leopold Flameng. S. R, Koehler. 

390. Winter Landscape. (Case 22.) — Assigned 
to 1636 by V. — Cassel, Gallery. — Etched by Wm. lin- 
ger. S. R. Koehler. 

Signature and date forged, according to V., who, however, accepts 
the picture, and assigns it as stated. 

391. Rembrandt and Saskia. (Case 22.) — Dated 
1638. — Dresden, Gallery. — Etched by H. Burkner. 

S. R. Koehler. 

392. The Marriage Feast of Samson. (The 
Feast of Ahasuerus.) (Case 34.) — Dated 1638. — Dres- 
den, Gallery. — Lithograph by Hanfstangl. Gray Coll. 

393. Portrait of a Gentleman. (Burgomaster Six.) 
— (Case 22.) — Dated 1639. — Cassel, Gallery. — Etched 
by Wm. Unger. S. R. Koehler. 

It is self-evident that the second title is erroneous. Compare No. 
243- 



ETCHINGS, ETC., AFTER REMBRANDT. 69 

394. Portrait of the Artist Doomer (?). (The 
Gilder.) (Case 22.) — Dated 1640, — Wm. Schaus, New 
York. — Etched by Leopold Flameng. S. R. Koehler. 

V. points out that the traditional title, " Le Doreur," is probably a 
corruption, or misreading, of the name of the person represented. 

395. Portrait of a Lady. (Case 22.) — About i64o(?). 

— Budapest, Gallery. — Etched by L. Michalek. 

S. R. Kcehler. 

Not catalogued by V. Sec Tschudy and Pulsky, " Landes- 
Gemalde-Gallerie in Budapest," \'icnna, 18S3 and 1886, Part II, 
p. 9. 

396. Manoah's Sacrifice. (Case 34 ) — Dated 1641. 

— Dresden, Gallery. — fCngraved by Jacob Houbraken. 

Sewa/l Coll. 

397. The Jewish Bride. (Saskia.) (Case 23.) — 
Dated 1641. — Vienna, Coll. of Count Lanckoroncki. — 
Etched by G. F. Schmidt. Gray Coll, 

Schmidt's etching is reversed. This picture has been doubted. See 
Dr. W. Bode, in " Mittheilungen der Gesellschaft fiir vervielfiiltigende 
Kunst," Vienna, Vol. Ill, No. 3, May 15, 1875, pp. 38 and 39. Also 
' American Art Review," Vol. II, Div. 2, p. 114. 

397 A. The Same. (Case 23.) Etched by Wm. 
linger. S. R. Koehler. 

398. Banning Cock's Company Sallying Forth 
to Shoot. (The Nightwatch.) (Case 33.) — Dated 
1642. — Amsterdam, Museum. — Etched by I-eopold Flam- 
eng. Seivall Coll. 

399. An Old Man Seated. (Case 37.) — Dated 
1642. — Budapest, Gallery. — Etched by Wm. Unger. 

S. R. Koehler. 

Not catalogued by V. See Tschudy and Pulsky, " Landcs- 
Gemalde-Gallerie in Budapest," Vienna, 1883 and 1886, Part II, p. 8. 



70 SECOA'D PRINT ROOM. 

400. Le Connetable de Bourbon? (Case 23.) 

— Dated 1644. — Paris, M. Secre'tan (according to 
Dutuit). — Dry-point by Ch. Kcepping. (Part only of 
the picture ?) S. J?. Koehler. 

401. Eleazar Swalm. (Case 35.) — Assigned to 
1645 by V. — Where? — Engraved by Jonas Suyderhoef. 

Sewall Coll. 

- 402. Portrait of an Elderly Man. (A Jewish 
Rabbi.) (Case 23.) — Dated 1645. — Berlin, Gallery 
(from the Suennondt Coll.), — Etched by Leopold Flam- 
eng. S. R. Koehler. 

403. The Descent from the Cross. (The Cruci- 
fixion.) (Case 35.) — Assigned to about 1645 to 1650 by 
V. — London, National Gallery. — Engraved by J. Burnet. 

Sewall Coll. 

404. Holy Family. (The family of the Woodchop- 
per, or of the Carpenter.) (Case 23.) — Dated 1646. — 
Cassel, Gallery. — Etched by Wm. Unger. S. R. Koehler. 

405. An Aged Rabbi. (Case 38.) — Dated 1646. — 
Where > — Mezzotint by Capt. Wm. Baillie. Gray Coll. 

406. Nicolas Berchem. (Case 24.) — Dated 
1647. — Grosvenor House. — Engraved by Schiavonetti. 

Sewall Coll. 

407. Landscape with Ruins. (Case 25.) — As- 
signed to about 1643 to 1650 by V. — Cassel, Gallery. — 
Etched by Wm. Un^er. S. R. Koehler. 

407A. The Student. (Daniel Studying Chaldaic?) 
(Case 24.) — About 1647 to 1650? — Berlin, Mr. Otto 
Pein. — Photogravure. S. R. Koehler. 

This picture is not mentioned by V., as it has come to light only 
lately. Note some of R.'s studio property in it, the sword which occurs 
in the " Resurrection of Lazarus" (No. 69), and a chair like that in 
"The Death of the Virgin" (No. 164). See Adolph Rosenberg in 
"Zeitschrift fur bildende Kunst," Vol. XXII, pp. 163 and 164. 



ETCHINGS, ETC., AFTER REMBRANDT. /I 

408. A Jewish Rabbi. (Framed, on case.) — 
Dated 1651. — London, National Gallery. — Etched by 
Chas. Waltner. Edward Robinson. 

V. is quite explicit in giving the date, but no date is mentioned in 
the official catalogue of the National Gallery. 

409. Noli me tangere. (Case 25.) — Dated 165 1. 

— Brunswick, Gallery. — Etched by Wm. Unger. 

S. R. Koehler. 

410. Portrait of a Lady. (Case 38.) — Assigned 
to between 1650 and 1654 by V. — Paris, Louvre. — 
Etched by Ch. Koepping. Sewall Coll. 

Dr. W. Bode is inclined to assign this picture to 1658. See Dutuit 
Supplement, p. 35. 

411. An Old Man with a Cane. (Case 24.) — 
Assigned to 1654 by V. — Dresden, Gallery. — Etched bv 
N. Massaloff. S. R. Koehler. 

412. The Standard Bearer. (Case 25.) — Assigned 
to 1655 by V. — Cassel, Gallery. Engraved by E. Heine- 
mann. 6". R. Koehler. 

413. The Standard Bearer. (Case 36.) — Date? 

— Where ? — Mezzot. by Wm. Pether. Gray Coll. 

This picture is placed here, as V. mentions two " Standard Bearers," 
the second in the Collection J- de Rothschild, Paris. The description, 
however, does not fit, nor does Pether's mezzotint show R.'s character. 

414. Jacob Blessing the Sons of Joseph. (Case 
25.) — Dated 1656. — Cassel, Gallery. — Engraved by E. 
Heinemann. S. R. Koehler, 



415. Mountainous Landscape with a Torrent. 
(Case 25.) — Assigned to 1656 by V. — Brunswick, 
Gallery. — Etched by Wm. Unger. S, R. Koehler. 



72 SECOND PRINT ROOM. 

416. Rembrandt. (Case 39.) — Assigned to 1658 
by V. — Vienna, Belvedere. — Etched by Wm. Unger. 

S. R. Koehler. 

417. The Auctioneer. (Thomas Jacobsz. Haring ?) 
(Case 25.) — Dated 1658. — London, Mr. John Wilson. 

— Etched by Wm. Unger. S. R. Koehler. 

418. Rembrandt. (Case 36.) — Dated 1659. — 
Coll. of Lord Carrington (in 1842). — Mezzot. by Richard 
Earlom. Gray Coll. 

419. The Syndics of the Cloth HalL (Case 25.) 

— Dated 1661. — Amsterdam, Museum. — Etched by G. F, 
Schmidt. Sewall Coll. 

Schmidt's etching is reversed. 

419A. The Same. (Case 25.) — Etched by Wm. 
Unger. S. R. Koehler. 

420. A Family Group. (Rembrandt's Family.) 
(Case 27.) — Assigned to about 1662 to 1663 by V. — 
Brunswick, Gallery. — Etched by Wm. Unger. 

S. R. Koehler. 

Again it goes without saying that the second title is quite unwarranted. 
W. Burger, " Zeitschrift fiir bildende Kunst," Vol. IV, p. 102, assigns the 
picture to the period after 1665. 

. 421. Lucretia. (Case 39.) — Dated 1664. — Was in 
the San Donato Collection. — Etched by Ch. Koepping. 

Sewall Coll. 

422, Rembrandt. (Case 27.) — Assigned to 1668 
by V. — Florence, Pitti Palace. — Etched by J. G. Chap- 
man. S. R. Koehler. 

423. Jewish Rabbi. (Case 37.) — Date ? — Where ? 

— Mezzot. by Wm. Pether. Gray Coll. 

42/[. Sigismond Ragotsky ? (Case 39.) — Date ? — 
Where ? — Mezzot. by Bernard Picart. Sewall Coll. 



ETCHINGS BY LASTMAN, ETC. 73 

[425. Christ Blessing the Children. — National 
Gallery, London. From the Suermondt Collection. — 
Etched by Leopold Flameng. S. R. Koehler. 

In the 1st edition of his " Rembrandt," V. assigns this picture to about 
1650. In the 2d edition (p. 285) he rejects it, and names as its prob- 
able author either Victor or Eeckhout.] 



ETCHINGS 



EXECUTED BY ARTISTS BELONGING TO REMBRANDT'S 
CIRCLE. 



PIETER LASTMAN. (Case 12.) 

Born (at Amsterdam ?) about 1580 to 1584 ; died (in the 
same city?) about 1649. Lastman was R.'s last teacher. 
— See Vosmaer, "Rembrandt," 2d ed., Chap. VIII, and 
pp. 472 to 481. 

426. Judah and Thamar. — Bartsch, Rembr. Cat., 

II. P- T-ZZ. No. 74. 

Two states; 2d state shown. . Gray Coll. 

Possibly only after Lastman. See Vosmaer, p. 79. 



SALOMON SAVRY. (Case 12.) 

Engraver and etcher, who is said to have worked at 
Amsterdam from 1620 to 1650. As early as 1632, in the 
year, that is to say, which is marked upon the original, he 
copied R.'s " Ratkiller," No. 72 of this catalogue (Vosmaer, 
p. 99). Mr. Haden, "Monograph." p. 18, would have it 
that he etched also the two plates, Nos. 95 and 96 of this 
catalogue, generally believed to be byR. — See Andrescn, 
''Handbuch," I, p. 437. 



74 SECOND PRINT ROOM. 

427. Cornells Claesz. Anslo. — Copy of R.'s etch- 
ing, No. 206 of this catalogue. Attributed to Savry by B. 

Sewall Coll. 



428. The Good Samaritan. — Copy of R.'s etching, 
No 80 of this catalogue. Attributed to Savry by W. 

Sewall Coll, 

Both these plates are marked S. Savry excud. (cut off in the " Samar- 
itan"), but this in reality signifies only that they were published by 
him. 



SALOMON KONINCK. (Case 12.) 

Born at Amsterdam 1609, died about 1668. A pupil of 
N. Moeijart, who adopted R.'s style. (Not to be con- 
founded with Philip de Koninck, one of R.'s own pupils.) 
— See Vosmaer, pp. 63 and 97 ; Bartsch's Rembr. Cata- 
logue, II ; Claussin, Supplement. 

429. Bust of an Old Man in Profile. — Bartsch, 
Rembr. Cat., II, p. 130, 68 ; Claussin, Supplement, p. 132, 

75- 

One state only. Sewall Coll, 

According £0 B. and to CI., this plate is signed and dated S. Koninck 
Ao. 1628, which does not quite correspond with what is left of the 
inscription on the impression shown, viz. : An 1628. The name has 
evidently been cut off. Judging from the date, this plate must have 
been executed before K. was influenced by R. 



M. RODDERMONDT. (Case 12.) 

(Rodermont, Rodermondt, Rottermondt ; called also 
Aegidius Paul, or Paul Aegidius, R.) Dutch painter and 
etcher, who is said to have worked about 1640. Mr. 
Haden ("Monograph," pp. 17, 18, and 26) would make 
him responsible for some of R.'s work. 



ETCHINGS BY VAN VL/ET. 75 

430, Esau selling his Birthright to Jacob. — 

Bartsch, Rembr. Cat., II, p. 135, 77 ; Claussin, SuppL, 

P- 135.84. 

Two states ; 2d state shown. Seivall Coll. 

Mr. Haden refers to this plate, " Monograph," p. 18. The false sig- 
nature, " Rembrandt," does n«t occur in the first state. , 

431. The Suppliant. — Bartsch, Rembr. Cat, II, 
p. 137, 78 ; Claussin, Suppl., p. 136, 85. 

One state only. Sewall Coll. 



JAN JORIS VAN VLIET. (Case 14.) 

Born at Delft, in 161 o, painter and etcher. "Van Vliet 
is especially known," says Vosmasr, p. 99, "by his etch- 
ings after Rembrandt. He was the first who made it his 
aim to reproduce the works of the young master," — See 
Bartsch, Rembr. Cat., II ; Claussin, Supplement ; also Mr. 
Haden, " Monograph," pp. 14, 15, 24, 25. 

432. Loth and his Daughters. After Rembrandt. 
— Bi; CI I,— Dated 1631. 

Two states \ 2d state shown. Sewall Coll. 



433. Susannah and the Elders. After Jan Lie- 
vens. — B 3 ; CI 3. 

One state only, Sewall Coll. 

The impression shown has been cut, mounted and repaired. 



434. Old Woman Reading. After Rembrandt. — 
B 18; CI 18. 

One state only. Sewall Coll. 

435. The Seller of Ratsbane. — B 55 ; CI 55. 
One state only. Sewall Coll, 



7^ SECOND PRINT ROOM. 

436. The Beggars. — B 73-82 ; CI 73-82. 

One state only, Sewall Coll. 

The set here shown lacks two of the full series of ten. 
See also Nos. 364 and 370. 



FERDINAND BOL. (Cases 16 and 18.) 

Born at Dordrecht towards i6il,but lived in Amsterdam since 
childhood; died at Amsterdam, 1661. Rembrandt is named as his only 
master. See Vosmser, pp. 138 and 139; Bartsch, Rembr. Cat. II; 
Claussin, Supplement; also Mr. Haden, " Monograph," p. 15 and else- 
where. 

437. The Sacrifice of Abraham. — B i ; CI i. 

Two states ; 2d state shown. Sewall Coll. 

438. Gideon's Sacrifice. — B2;Cl2. 

Three states ; 3d (?) state shown. Sewall Coll, 

439. St. Jerome. — B 3 ; CI 3. 

One state only. Sewall Coll. 

There seems no reason to think that this is not the etching described 
by B. and by CI. Nevertheless it measures only 8 pouces 4 lignes across, 
while they agree in making it 9 pouces. 

440. The Family. — B 4 ; CI 4. — Dated 1649. 
One state only. Sewall Coll. 

441. An Old Man with a curly beard. — B 9 ; CI 
9. — Dated 1642. 

One state only. Sewall Coll. 

Traces only of the signature and date are visible on the impression 
shown. 

442. Portrait of an Officer. — B 11 j CI 12. 

One state only. Gray Coll. 

443. Portrait of a Man. — B 12 ; CI 13. 

One state only. Sewall Coll. 



ET.HINGS BY BOL. 77 

444. Man Wearing a Large Cap. — B 13 ; CI 14. 

Oen state only. Sewall Coll. 

445. The "Woman with the Pear. — B 14 ; CI 16. 

— Dated 1651. 

One state only. Gray Coll. 

446. Portrait of a Lady, in an oval. — B 15 ; CI 17. 

— Dated 1644. 

Two states j 2d state shown. Sewall Coll. 

The impression shown is not the original, but the copy made by 
Claussin. The original is a trifle larger, and the copper in the 2d state 
has been cut to an oval shape. 

447. Bust of an Old Man, in an oval. — CI 18. 
One state only. SeTnall Coll. 

448. The Hour of Death. — B (under Rembrandt) 
108 ; CI 19. 

Exhibited among the pieces eliminated by V. from the list of R.'s 
works. See No. 360 of this catalogue, in case 17, 19. 

449. Young Man Standing. — Signed, and dated 
1640. 

States (?). Gray Coll. 

Not mentioned in any of the catalogues, and not at all like Bol's 
work. The same design has been etched by some one else, and signed 
Rembrandt f. 1636. An impression of this version is also shown. 



JAN LIEVENS. (Cases 26 and 28.) 

Born at Leyden, 1607. It is generally stated that he died at Ant- 
werp in 1663, but in 1672 he was still living, and again in his native 
city. Lievens, like R., was a pupil of Lastman, and only a follower of 
his greater townsman. About 1634 he was at Antwerp, and later his 
style was influenced by Rubens and the Italians. See Vosmser, p. 97, 
and elsewhere; Bartsch, Rembr. Cat., II; Claussin, Supplement. For 
Mr. Haden's theories concerning Lievens, see " Monograph," p. 16 
and elsewhere. 



78 SECOND PRINT ROOM. 

450. The Virgin and Child. — Bl i ; CI i. 

Two states ; ist state shown. Sewall Coll. 

This is evidently in L.'s later Italian, or " noble " manner. 

451. The Resurrection of Lazarus. — B3; CI 3. 

Two states ; 2d state shown. Sewall Coll. 

452. St. Jerome. — B 5; CI 5. 

Three states; 2d state shown. Sewall Coll. 

453. An Hermit. (St. Francis.) — B 7 ; CI 7. 
Two states ; 2d state shown. Seivall Coll. 

454. St, Anthony. — B 8 ; CI 8. 

Two states ; 2d state shown. Seivall Coll. 

This is an extreme case of the attempted free use of the graver, on a 
plate apparently underbitten, often met within L.'s work. R. evidently 
used the graver upon his plates in a most skilful manner, and with a 
dexterity and freedom that made it harmonize admirably with the work 
of the acid and the dry-point. His follower attempts the same thing, 
but, lacking the skill, the freedom degenerates into brutality. 

455. Oriental Figure. — B 12; CI 12. 

Two states ; 2d state shown. Seivall Coll. 

In this plate the retouches were etched in, but with as little success 
as in the case of the retouches put in with the graver. 

456. Bust of an Oriental. — B 13 ; CI 13. 

Two states ; 2d state shown. Sewall Coll. 

The curious crayon-like texture noticeable in this plate may be due 
to shallow biting and lines run together, or in parts, as Mr. Jas. D. 
Smillie suggests, to the grinding down of heavily overbitten lines. 

- 457. Bust of an Oriental. — B 18 ; CI 18. 

Two states; 2d (.'') state shown. Sewall Coll. 

Both B. and CI. say that I^.'s initials are to be seen on the left side, 
about midway, but they are not to be found in this impression. See 
R.'s etching. No. 1 16 of this catalogue, of which this plate is supposed 
to be a reversed copy. See also Mr. Haden's remarks, "Monograph," 
pp. 28 and 29. 



ETCHINGS BY LI EVENS. 79 

458. Bust of an Old Man. — B 22 ; CI 22. 

Two states (?); ist state (?) shown. Sewall Coll. 

B. and CI. describe only one state, with F. van Wyngaerde's address. 
As there is no address on this impression, it would seem to be a ist 
state. Or is it a copy, since it is numbered 4 in upper right-hand 
corner, as if it belonged to a series? 

459. Bust of a Young Man. — B 26 ; CI 26. 

One state only. Sewall Coll. 

The breadth of the impression shown does not correspond with the 
descriptions, but it has evidently been cut. Compare No. 125 of the 
present catalogue, of which this is supposed to be a free copy. 

460. Bust of a Young Woman. — B27; CI 27. 
One state only. Sewall Coll, 

This impression has likewise been cut. 

461. Bust of a Young Man. — B 39 ; CI 39. 

Two states ; 2d state shown. Sewall Coll, 

462. Head of an Old Man, — B 46 ; CI 46. 

One state only. Sewall Coll. 

Of L.'s later time, after he had gone to Antwerp? The stippling in 
this head reminds one of the similar treatment adopted by Van Dyck. 

463. Bust of an Old Man, with large round eyes. — 
B50; CI 50. 

Two states ; ist state shown. Sewall Coll. 

464. Portrait of Ephraim Bonus. — B 56 ; CI 55. 
Three states; ist state shown. Sewall Coll. 

Finished with free graver work, like the others of L.'s large portraits, 
but much more successfully and carefully than the St. Anthony. See 
R.'s portrait of Bonus, No. 244 of this catalogue. 

465. Portrait of Justus Vondel. — B 57 ; CI 56. 
Five states; 4th state shown. Sewall Coll, 



80 SECOND PRINT ROOM. 

466. Portrait of Daniel Heinsius. — B58; CI 57. 
One state only. Sewall Coll. 

467. Portrait of Jacob Gouters. — B 59 ; CI 58. 
One state only. Gray Coll, 

468. Bust of an Old Man, full face. — CI 70. 

One state only. Sewall Coll. 

The measurements do not agree. CI. says 9 pouces by 8. The true 
measurement (unless this should be a copy, which is not likely) is 10 
pouces 2 lignes by 8, from platemark to platemark. See the remarks 
about graver work under No. 454. 



PAINTINGS. 



469. Danae and Jupiter? — Signed andjdated 1652. 

Francis Brooks. 

The title hardly suits the picture. The male figure is Mercury. The 
woman to whom he offers the bag cannot be Danae, as the scene 
takes place in the open air, while the mother of Perseus was kept by 
her father in a subterranean room, through the roof of which Jupiter 
entered in the form of a shower of gold. R., however, was evidently not 
a strict interpreter of ancient myths. In the etching. No. t,t, of this cata- 
logue, he introduces the shower of gold and the satyr, thus combining 
the two myths of Danae and of Antiope. The picture is not mentioned 
by V. See also the remarks in the introduction. 



470. Rembrandt ? — Date ? — Original where ? 

Boston Athenmim. 
Copy by an imknown artist. 

471. Rembrandt. — Dated 1634. — Original in the 
Pitti Palace, Florence. Boston Athenceum. 

Copy by an unknown artist. See G. F. Schmidt's etching, reversed, 
No. 384 of this catalogue. 



FINDING LIST 

FOR THE CATALOGUES OF BLANC, BARTSCH, WILSON, 
MIDDLETON, AND DUTUIT. 



To locate in this exhibition by means of the following 
list any of Rembrandt's etchings, according to the num- 
bers given to them by Bl, B, W, M, or Du, find the 
corresponding number in the first column. The number 
on the same line with it, in the column set apart for the 
catalogue used, will be the number under which the etch- 
ing sought is here catalogued. For instance : the etching 
wanted being B 225, find this number in the first column, 
then read the number on the same line with it in the col- 
umn headed B, which in this case is 211, and under this 
number the etching looked for will be found in the present 
catalogue. The numbers omitted indicate prints which 
are omitted also in this catalogue, because they are not 
procurable, and are described by neither V. nor Bl. 





Bl 


B 


W 


M 


Du 




Bl 


B 


W 


M 


Du 


1... 


..156 


25 


25 


128 


25 


24.. 


.. 6 


23 


23 


26 


23 


2... 


..305 


101 


101 


126 


101 


25... 


.. 79 


61 


61 


27 


61 


3.. 


..152 


88 


88 


5 


88 


26.. 


..275 


161 


161 


31 


161 


4... 


..157 


29 


29 


75 


29 


27.. 


..182 


31 


31 


23 


31 


5.. 


..227 


ao 


30 


4 


30 


28.. 


.286 


156 


68 


14 


68 


6.. 


..298 


87 


87 


3 


87 


29... 


..287 


305 


27 


22 


27 


7.. 


..196 


59 


59 


340 


59 


30 . 


..183 


152 


340 


20 


340 


8.. 


..296 


102 


102 


258 


102 


31. 


..228 


— 


67 


21 


67 


9.. 


..158 


65 


65 


257 


65 


32.. 


..198 


— 


232 


123 


232 


10.. 


..347 


24 


24 


9 


24 


33.. 


..173 


157 


26 


185 


26 


11. . 


,. 90 


295 


295 


255 


295 


34.. 


..288 


227 


89 


12 


89 


12... 


..171 


66 


66 


320 


66 


35.. 


..289 


298 


156 


189 


156 


13.. 


..278 


28 


28 


254 


28 


36.. 


..279 


296 


305 


16 


305 


14.. 


..274 


63 


63 


129 


63 


37.. 


.. 8 


168 


152 


10 


152 


15.. 


..273 


62 


62 


341 


62 


38.. 


..290 


347 


227 


15 


157 


16.. 


...197 


60 


60 


66 


60 


39.. 


..280 


90 


298 


17 


227 


17 . 


...91 


86 


86 


87 


86 


40.. 


..170 


171 


296 


19 


298 


18.. 


..285 


104 


104 


— 


104 


41.. 


...80 


278 


158 


18 


158 


19.. 


...181 


149 


149 


30 


149 


42.. 


..108 


273 


347 


29 


347 


20.. 


...284 


160 


160 


67 


160 


43.. 


..143 


197 


90 


89 


90 


21.. 


.. 7 


167 


167 


65 


167 


44.. 


...107 


91 


171 


63 


278 


22.. 


...163 


253 


253 


28 


253 


45.. 


...310 


285 


278 


60 


273 


23.. 


..309 


105 


105 


24 


105 


46.. 


...92 


181 


273 


343 


197 



82 



FINDING LIST. 





Bl 


B 


W 


M 


Du 




Bl 


B 


W 


M 


Du 


47... 


..214 


284 


274 


68 


296 


100.. . 


..328 


94 


— 


88 


109 


48... 


.. 69 


7 


197 


62 


171 


101.... 


..168 


71 


229 


85 


199 


49... 


..269 


163 


91 


61 


91 


102.... 


..342 


110 


109 


121 


164 


50.. 


..297 


309 


285 


102 


285 


103... 


.. 44 


216 


199 


176 


94 


51... 


..299 


6 


181 


25 


181 


104.... 


..209 


259 


167 


348 


71 


52.. 


..144 


79 


284 


59 


284 


105.... 


.. 74 


217 


94 


104 


110 


53.. 


..300 


275 


7 


56 


7 


106.. 


.. 75 


2 


71 


101 


216 


54.. 


..174 


182 


163 


57 


163 


107... 


..121 


308 


110 


100 


269 


55.. 


.118 


286 


309 


58 


zm 


108... 


.. 37 


360 


216 


97 


217 


56... 


..81-2 


287 


6 


45 


6 


109.. 


..138 


165 


259 


«) 


308 


57.. 


. 215 


183 


79 


46 


79 


110... 


..348 


24i) 


217 


84 


165 


58.. 


. .291 


228 


275 


52 


275 


111... 


..230 


83 


2 


105 


249 


59.. 


. 172 


— 


182 


344 


182 


112.. 


..349 


248 


308 


95 


83 


60.. 


. 70 


290 


286 


322 


286 


113. 


..341 


201 


165 


96 


248 


61.. 


..292 


198 


287 


345 


287 


114... 


.. 34 


202 


249 


114 


201 


62.. 


.. 93 


173 


183 


48 


183 


115... 


.123 


203 


83 


151 


202 


63.. 


..293 


288 


228 


50 


228 


116... 


..169 


204 


248 


133 


203 


64 . 


.260 


289 


290 


324 


198 


117... 


.. 35 


205 


201 


111 


204 


65. 


..120 


279 


198 


54 


173 


118... 


..122 


196 


202 


55 


205 


66.. 


..316 


8 


173 


342 


288 


119... 


.. 43 


119 


203 


326 


196 


67. 


. 229 


280 


288 


47 


289 


120... 


..281 


218 


204 


127 


119 


68 


.109 


108 


289 


321 


279 


121... 


..176 


72 


205 


188 


218 


69.. 


..199 


107 


279 


49 


8 


122... 


..184 


73 


19() 


115 


72 


70.. 


..164 


310 


8 


40 


290 


123... 


..128 


301 


119 


117 


73 


71.. 


... 94 


92 


280 


34 


280 


124... 


.. 53 


112 


218 


116 


301 


72.. 


.. 71 


214 


108 


38 


310 


125... 


..185 


294 


72 


125 


112 


73., 


..110 


69 


107 


43 


92 


126... 


..186 


247 


73 


194 


294 


74.. 


..216 


269 


310 


41 


170 


127... 


..187 


358 


301 


148 


247 


75.. 


...259 


297 


92 


42 


80 


128.. 


.. 10 


200 


112 


149 


200 


76.. 


. . .217 


299 


214 


53 


143 


129... 


.. 9 


111 


294 


150 


111 


77.. 


... 1 


144 


69 


51 


269 


130... 


.. 41 


328 


247 


165 


328 


78 . 


...308 


300 


269 


36 


214 


131... 


.. 40 


281 


200 


154 


281 


79.. 


...165 


174 


297 


37 


69 


132... 


...42 


359 


111 


153 


168 


80.. 


. . .249 


118 


299 


11 


107 


133... 


...11 


168 


328 


161 


342 


81.. 


...83 


81-2 


300 


323 


108 


134.. . 


...241 


342 


281 


1(50 


44 


82.. 


...248 


215 


144 


64 


297 


1351. 


...129 


44 


168 


159 


209 


83.. 


...218 


291 


81 


135 


299 


136... 


...12 


209 


44 


103 


36 


84.. 


. .251 


70 


81 


136 


144 


137... 


..188 


— 


209 


167 


75 


85.. 


...201 


172 


174 


137 


300 


138... 


... 38 


36 


36 


166 


121 


86.. 


...202 


292 


118 


138 


174 


139... 


...54 


75 


75 


190 


122 


87.. 


...203 


293 


215 


139 


118 


140... 


... 95 


121 


121 


168 


37 


88.. 


...204 


93 


291 


140 


81-2 


141... 


... 96 


122 


122 


186 


138 


89 . 


...205 


260 


70 


44 


215 


142... 


...189 


37 


37 


187 


348 


90.. 


...119 


80 


172 


131 


291 


143... 


...361 


138 


138 


169 


230 


91. 


... 36 


143 


292 


74 


172 


144... 


...350 


;}48 


348 


184 


349 


92 . 


...111 


170 


293 


346 


70 


145... 


...264 


— 


230 


178 


1 


93. 


...112 


— 


93 


122 


292 


146... 


...260 





349 


20(i 


34 


94.. 


...301 


316 


260 


— 


293 


147... 


...255 


230 


1 


208 


123 


95.. 


...72 


120 


80 


325 


93 


148... 


...266 


349 


34 


207 


74 


96. 


...73 


229 


143 


132 


260 


149... 


. . .257 


1 


123 


329 


274 


97.. 


...294 


109 


170 


134 


316 


150... 


...268 


34 


74 


175 


43 


98.. 


...247 


199 


316 


130 


120 


151... 


...242 


123 


43 


177 


169 


99.. 


...200 


164 


120 


86 


229 


152... 


...220 


74 


169 


222 


176 



»VV 136* = 167. 



FINDING LIST. 



83 



BI 

153 219 

154 221 

155 13 

156 39 

157 252 

158 238 

159 240 

160 239 

161 311 

162 113 

163 312 

164. 313 

165 32 

166 318 

167 315 

168 33 

169 314 

170 206 

171 245 

172 244 

173 115 

174 77 

175 319 

176 304 

177 207 

178 303 

179 302 

180 276 

181 246 

182 306 

183 148 

184 243 

185 357 

186 84 

187 231 

188 307 

189 166 

190 114 

191 85 

192 3 

193 4 

194 356 

195 56 

196 57 

197 346 

198 58 

199 97 

200 159 

201 100 

202 175 

203 149 

204 25 

205 31 

206 101 

207 88 

208 29 



B W 

274 176 

43 224 

169 162 

176 261 

224 53 

162 187 

261 185 

53 186 

187 10 



M Du 

281 224 

223 162 

231 261 

230 53 

241 187 

244 185 

243 186 



185 
186 

10 
9 

41 



253 

245 
77 
330 
276 
295 



40 241 

42 38 

11 188 

241 129 



38 

188 



129 250 

12 95 
54 96 

250 189 

95 351 

96 350 
189 255 
351 254 
350 257 

255 256 
254 242 
257 220 

256 219 
242 221 

220 13 
219 39 

221 252 

13 238 
39 240 

252 35 

238 239 
240 311 

35 113 

239 312 

311 313 
113 32 

312 318 

313 315 

32 33 
318 314 
315 106 

33 327 

314 233 
106 234 
327 210 
233 267 



10 
9 
41 
40 
42 
11 

331 241 

246 38 

303 188 
302 129 
307 12 
306 54 

304 250 
232 95 
319 96 

2 189 

1 351 

8 360 

6 350 

7 254 
274 257 
182 256 
173 258 

71 242 

79 220 

80 219 

81 221 

82 13 
69 39 

347 252 

94 238 

91 240 
90 35 

118 239 

93 311 

92 113 

108 312 

109 313 
107 32 

110 318 
144 315 
143 33 
172 314 

157 106 
152 327 

158 233 
156 234 
164 210 
163 367 



Bl B W M Du 

209 30 234 225 170 226 

210 87 210 146 199 146 

211 59 267 271 198 271 

212 102 225 193 196 193 

213 65 146 — 197 — 

214 24 271 263 217 263 

215 66 193 264 214 264 

216 161 — 235 215 235 

217 26 263 226 70 226 

218 27 264 180 228 180 

219 28 235 282 229 282 

220 61 226 268 227 268 

221 67 180 145 183 145 

222 62 282 311 174 211 

^23..... 60 268 212 216 212 

224 68 145 195 269 195 

225 63 211 236 260 236 

226 23 212 — 273 — 

227 89 195 191 275 191 

228.... 232 236 237 171 237 

229 85 — 78 280 78 

230 340 191 313 181 213 

231 104 237 277 279 277 

232 105 78 265 278 265 

233 160 313 266 292 266 

234 167 277 192 269 192 

235 253 266 283 300 283 

236 295 266 — 287 — 

237 103 192 335 293 335 

238 64 283 354 286 354 

239 98 335 336 284 — 

240 177 — — 286 336 

241 124 354 147 288 — 

242 99 — — 291 147 

243 321 336 317 309 — 

244 133 — 355 290 317 

245 47 147 — 289 355 

246 76 — 272 298 — 

247 352 317 141 296 272 

248.... 329 355 — 299 141 

249 150 - 179 120 — 

250 151 272 337 305 179 

251 155 141 - 297 337 

252 6 — — 308 — 

253 262 179 — 310 — 

254. 353 337 — 316 206 

255 125 — — 13 245 

2r>6 330 — — 113 244 

257 208 222 — 39 77 

258 153 262 222 32 319 

259 326 190 262 33 251 

260 14 48 190 73 304 

261 126 208 48 72 303 

262 222 131 — 83 302 

263 322 51 208 119 276 

264..... 52 246 131 112 264 



84 



FINDING LIST. 



Bl 

265 15 

266 16 

267 51 

268 190 

269 154 

270 131 

271 178 

272 17 

273 18 

274 19 

275 45 

276 46 

277 345 

278 324 

279 344 

280 132 

281 48 

282 20 

283 21 

284 50 

285 22 

286 ....194 

287 ...270 

288 117 

289 116 

290 136 

291 140 

292 137 

293 139 

294 127 

295 332 

296 323 

297 343 

298 49 

299 134 

300 325 

301 130 

302 ... 55 

303 ....320 

304 338 

305 339 

306 333 

307 334 

308 135 

309 106 

310 327 

311 233 

312 234 

313 210 

314 267 

315 225 

316 146 

817 271 

318 263 

819 264 

820 236 



B W 

178 51 

84 246 

270 178 

153 84 

148 270 

251 153 

206 148 

276 251 

304 206 

303 276 

302 304 

306 303 
245 302 
244 306 

114 245 
231 244 
166 114 

77 231 

319 !«> 

307 77 
243 319 

115 307 
117 243 

116 115 
125 117 
194 116 

22 125 

17 194 

18 22 

19 17 
— 19 

325 325 
345 345 

45 45 

55 55 

140 140 

323 323 

139 139 

15 15 

326 326 
127 127 



M Du 

165 306 

142 148 

162 243 

219 84 
209 231 
.S28 307 
200 166 

202 114 

203 222 

204 262 

205 190 
349 48 
224 208 

239 131 
238 51 

240 178 
221 270 

220 153 
242 115 
252 117 
218 116 
248 125 
250 194 



247 
179 
261 
251 



22 
17 
18 
19 



52 
322 



52 
18 



21 322 

207 21 

14 207 

324 14 

154 324 

344 154 

60 344 

27 50 

49 49 

341 341 

68 16 

26 343 



35 325 

201 345 

294 45 

301 55 

249 140 

313 — 
312 323 
311 139 

314 15 

315 326 
318 127 
327 52 

210 322 
213 21 

211 207 

212 14 
78 324 

225 154 

226 344 



234 

237 



50 
49 



233 341 

im 16 

235 343 

191 332 
268 46 

192 20 

145 130 

146 1.34 



Bl 

321 226 

322 180 

323 282 

324 268 

325 145 

326 212 

327 211 

328 195 

329. ...236 

330 191 

331 237 

332 78 

333 213 

334 ....277 

335 265 

336 2;6 

337 192 

338 283 

339... jg2 

340 354 

3*1 336 

342 147 

343 317 

344 355 

345. .. 141 

346 179 

347 337 

348 331 

349 223 

350 224 

351 142 

352 162 

353 261 

354 == 

355 

356 

357 

358 

359 

360 .. . 

361 

362 

363 

364 

365 

366 

367 

368.. . 

369 

370 

371 

372 

373.. „^ 

374 

375..... 



B W 

16 332 

343 46 

332 20 

46 130 

20 134 

130 353 

134 330 

353 137 

330 136 

— 126 
89 132 

137 — 

136 333 

126 — 

67 334 

132 97 

340 159 

— 57 

97 346 

98 99 
159 100 

57 68 

346 66 

99 133 
85 

3 

4 

47 



M Du 

264 353 

265 330 

266 — 
195 137 
263 136 
277 126 
180 132 
282 — 



267 



100 

58 

56 

133 177 

85 124 

3 321 
356 175 

4 76 
47 352 

177 329 

124 103 

321 331 

175 150 

76 135 

352 151 

329 155 

103 184 

.331 64 

150 143 
135 223 

151 128 
155 .320 
184 _5 

142 
223 
128 
320 
5 



97 
98 

169 
67 

346 
99 

100 
68 
66 

133 

86 

3 
4 

356 
47 
177 
124 
321 
175 
76 
352 
329 

io;{ 
;tti 

150 
135 
151 
165 
184 
64 
142 
223 
128 
320 
5 



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