GREAT ENGRAVERS : EDITED BY ARTHUR M. HIND
144, n. REMBRANDT AND HIS WIFE, SASKIA. 1636. B. 19
REMBRANDT
WITH A COMPLETE LIST
OF HIS ETCHINGS
WILLIAM HEINEMAN
LONDON 191
HE
i
REMBRANDT
REMBRANDT HARMENSZ VAN RYN, son of Harmen
Gerritsz van Ryn, miller (d. 1630), and Neeltge
Willemsdochter (d. 1640), daughter of a baker of
Zuytbroeck ; born at Leyden, July 15, 1606 ; entered
Leyden University as a student of letters, May 20,
1620, but left before the end of the year ; studied
painting for about three years in his native town
under Jacob Isaaksz van Swanenburgh, and at the
age of seventeen for about six months under Pieter
Lastman in Amsterdam ; settled in Leyden from 1624
until 1631, removing with his sister Lysbeth to
Amsterdam in the latter half of 1631 ; married Saskia
van Ulenburch, June 1634 ; from 1639 to 1658 lived
in the Breestraat (in the house which is now open to
the public) ; lost his wife in 1642 ; from about 1652
Hendrikje Stoffels, who had been his servant, lived
with him as his wife, until her death about 1664 ;
Rembrandt's material success as a painter was counter-
balanced by his zeal for collecting works of art, and
in 1656 he was forced by his creditors to declare
bankrupt ; an inventory of the contents of his house,
made in view of the sales which took place in 1657
and 1658, is still preserved ; the last part of his life
was spent in a lodging on the Rozengracht, and all
the money that he earned went to his creditors whom
he never satisfied j he died and was buried in the
Westerkerk, Amsterdam, October 4, 1669.
THE formal style of art, the essence of line-engraving, reached
its zenith in Albrecht Dttrer. And Durer was so great a
master that human feeling told through the medium of the
severest formalism. But it was not till a century later- that
human expression found its full outlet in an artist whose sympathy
was at once penetrating and comprehensive, who perfected a medium
capable of the most spontaneous rendering of the deepest as well as
the most fleeting emotions of life.
As a painter Rembrandt was chiefly devoted to portraiture, a
devotion no doubt largely due to the conviction that its study
gives the most immediate opportunity for depicting human character.
5
GREAT ENGRAVERS
But it must also be confessed that the overwhelmingly large pro-
portion of portraits to other subjects in his painted work may be
partly owing to the demands of clients. That it was not entirely
so is immediately evident when one considers the master's
untiring industry in painting portraits of himself after his popu-
larity had waned, and commissions nearly ceased. Nevertheless
as works for the most part uncommissioned and less lucrative than
the paintings, we may take it that the etchings are a true reflection
of the actual tendency of Rembrandt's genius when least affected
by demands from outside. In his etched work we find that portraits
are much less numerous, and by far the largest place is given to the
subjects from scripture, treated with the same reality that characterises
his sketches from daily life.
Rembrandt's affection for scriptural subjects is a striking fact in
face of the general character of Dutch art in the seventeenth century.
The reformation in Holland seems to have helped towards the
exclusion of art from the domain of religion ; and the merely formal
and superficial rendering of biblical stories by the classicists of the
late sixteenth century may have also had much to account for the
secular reaction of the succeeding period. But Rembrandt had no
need to seek new ground to escape from a formal rendering of well-
known themes. Like most masters of supreme genius, his originality
consisted in the realisation of his own deepest and most personal
emotion in his treatment of the old stories. They appealed to him
as the vehicle of the noblest thoughts of man in relation to himself
and God, and he was practically the first artist who dared approach
the Scriptures in the spirit of reality that implied a living faith rather
than an official creed.
It is perhaps still not superfluous to emphasise the fact that the
etchings of Rembrandt (as of nearly all the painter-engravers or
etchers) are original works distinct in methods and aims from the
paintings or works in any other medium. In Rembrandt's work of
rather more than three hundred etchings there are scarcely half a
dozen subjects that correspond with his pictures. In general the
original engraver or etcher conceives and carries out his design in
specific relation to its medium ; its expression in another would
demand an entirely different treatment.
Rembrandt worked on copper in pure etching and dry-point. In
pure etching the plate is first covered with a thin layer or ground of
wax composition ; the etcher draws through this ground (which
offers scarcely any resistance) with an etching needle, opening up the
6
REMBRANDT
surface of the copper where he wishes his lines to appear. The plate
is then put in a bath of acid which bites the furrows in the unpro-
tected parts of the plate, i.e. wherever the needle has been drawn
through the ground. Dry-point, though generally regarded as a
branch of etching, as it is so constantly used on the same plate as
bitten work, is in reality more akin to line-engraving. No acid is
used, and the lines are scratched on the surface of the copper by a
strong steel point. The artist does not push this point before the
hand like the graver, but uses it in the same way as a pencil. The
curl of metal thrown up at the side of the line is not scraped away as
in line-engraving, where the aim is clearness of designs, but left to
hold the ink, enwrapping the line, as printed from the furrows, in a
rich cloudy tone. This curl of metal, or * burr ' (a term also applied
to the velvety tone which it causes), is, extremely delicate, and a
comparatively few impressions suffice to level it with the surface of
the copper, and leave the effect a mere ghost of the artist's intention.
So that rich impressions from dry-points are infinitely rarer than good
ones from the pure etchings, which often yield hundreds of prints
without greatly deteriorating in quality. But the more delicate the
etching and the closer the mesh of line, the sooner will deterioration
of quality set in, so that a glance at the character of an etching,
granting that the plate was not destroyed after a very limited issue,
will almost immediately reveal one important point, i.e. the com-
parative rarity of good impressions. It is clear and strong open line
prints such as the Christ at Emmaus of 1654 (282) of which moderate
impressions are not so valuable, for such plates were still in fair
condition for printing as late as the eighteenth century.
Pure etching is often combined with dry-point, the latter being
used to give emphasis and strength to an etching of greater uniformity
of tone. Rembrandt did not begin to use dry-point until about 1639,
e.g. in the Death of the Virgin (161), but it is not handled with any
richness of effect until such works as the Triumph of Mordecai (172)
which probably dates several years later. A print like the Three
Trees (205) might seem from the reproduction to have the rich tone
that comes from dry-point, but in this case the dark effect is almost
entirely due to a close mesh of pure etched lines. The real quality
of dry-point may be better studied in some of the lightly sketched
lines in the foreground of the Artist drawing from a model (231) , e.g.
the palm branch on the right.
In his early period up till about 1640, Rembrandt's etching is
characterised by a clear lineal manner with little tendency to the
7
GREAT ENGRAVERS
chiaroscuro which gradually became the characteristic feature of his
artistic style in etching as well as in painting. Later he tends to a
greater breadth of treatment in line, and a less imitative treatment of
physical form. At first his experiments in chiaroscuro were pro-
duced by the close mesh of etched lines, but it must be confessed
that etching as such rather loses its character when the line is so
rentirely lost in tone. Even the Hundred Guilder Print (236) holds its
unrivalled place in the art of etching rather for the genius that
overcame supreme difficulties than for the supreme fitness of the style
in relation to the medium. Rembrandt never showed the breadth of
his sympathy and his powers of observation better than in this plate,
but for grandeur of conception, concentration of material, and a
vigorous handling more in keeping with the scale of his subject, he
attained a nobler — I think his noblest — creation in the Three Crosses
(270). The changes introduced in this plate in a later state are
remarkable, and show how completely the etcher can transform his
subject. Here the changes are astonishingly drastic, and may have
been intended to direct us to an entirely different moment in the
drama of the Crucifixion. In other examples, such as the Christ
presented to the People (2/1) and the Landscape with trees^farm-build-
ingSj and a tower (244), one sees how Rembrandt was constantly
striving in the progress of his states towards greater concentration of
idea, effecting it in the former by the removal of an entire group of
figures, in the latter by the lopping of a cupola on the church
tower. Except for an occasional plate like the Clement de Jonghe
(251) with its open line after the manner of Van Dyck, Rembrandt
kept to the method of close painter-like shading throughout the
latter part of his life, but in his subject prints he almost entirely
discarded this method of chiaroscuro for a more luminous and
[mysterious shadow effected by the surface tinting of a more broadly
etched plate. The various states of the Entombment (281), first with
the line quite open, then with some added shading partially aided by
a surface tint, exemplify the manner of his progress. In this wonder-
ful plate, and nearly all the subjects of his later period, Rembrandt
had attained a dignity of composition which we find in few painters
outside Venice. In spite of his thoroughly Dutch temperament,
Rembrandt had learnt much from the Italians, and in nothing more
than in space composition. A very large proportion of his early
etchings are studies of seperate figures. Only by this constant study
of pieces of life was perfected the power by which his greater
conceptions were realised with such unity of effect.
8
REMBRANDT
Rembrandt took longer than many a weaker artist to reach his
maturity, not that his progress was slower, but the maturity much
higher, and even his old age seemed like youth in its perennial
receptivity and power of vigorous growth. A well-known connoisseur
of the time, Constantin Huygens, writing in 1631, was more impressed
by Lievens's brilliant flights of invention than by Rembrandt's vivid
power of expressing character and emotion. But while the former
and so many of his contemporaries were content with their own
facility and the convention they had reached, Rembrandt never
remitted the ardour of the great quest which was the very blood of
his life. Constantly breaking new paths, and losing at each new
turn his earlier patrons, who failed to follow the progress of his
genius, he died in comparative neglect, only to be rediscovered by the
moderns as one who still belongs to the most living style of art.
A few etchers of the last two or three generations have taken a
step further or aside in this or that direction, more particularly in the
art of landscape, but even Whistler, at once the supreme virtuoso and
the greatest individuality of nineteenth-century etching, falls far
short of Rembrandt in the one thing which makes or mars genius of
the highest order, i.e. depth of humanity, without surpassing him in
the technical mastery of expressive line. Rembrandt remains for
us the greatest etcher who has ever lived, as well as one of the
noblest exponents in art of the deepest and most generous emotions
of life.
BOOKS OF REFERENCE
CATALOGUES
GERSAINT, E. F. Paris 1751
YVER, P. Amsterdam 1756 (supplement to Gersaint)
BARTSCH, Adam. Vienna 1797
CLAUSSIN, J. J. DE. Paris 1824 (supplement 1828)
WILSON, T. London 1836
BLANC, C. Paris 1859-61 (1873, and with a complete series of reproduc-
tions, 1880)
MIDDLETON-WAKE, C. H. London 1878
DUTUIT, E. Paris 1881-4 (with a complete series of reproductions in
heliogravure) ; Manuel de 1'Amateur V (1882), and VI (1885).
ROVINSKI, D. St. Petersburg 1890 (with atlas of reproductions covering all
the etchings in practically every state)
Les Eleves de Rembrandt. St. Petersburg 1894
SEIDLITZ, W. von. Leipzig 1895
DODGSON, C. In Hamerton. the Etchings of Rembrandt, London 1904
SINGER, H. W. Stuttgart 1906 (and 1910)
HIND, A. M. London 1912
GENERAL
Also including the most important works on Rembrandt's paintings
and drawings
VOSMAER, C. Rembrandt, sa vie et ses ceuvres. The Hague 1868 (and
1877)
HADEN, (Sir) F. Seymour. The Etched Work of Rembrandt. London
1879
MICHEL, E. Rembrandt, sa vie, son oeuvre, et son temps. Paris 1893
HAMERTON, P. G. The Etchings of Rembrandt. London 1894 (and 1904,
with catalogue by C. Dodgson)
BODE, W., and GROOT, C. H. DE. The Complete Work of Rembrandt (repro-
duced in photogravure). 8 vols. Paris 1897—1906
GROOT, C. H. DE. Die Urkunden iiber Rembrandt (1575-1721). The
Hague 1906. (English version in vol. 8 of Bode)
Die Handzeichnungen Rembrandts. Versuch eines beschrei-
benden und kritischen Katalogs. Haarlem 1906
HAMANN, R. Rembrandt's Radierungen. Berlin 1906
HOLMES, C. J. The Development of Rembrandt as an Etcher. 'Burlington
Magazine IX (1906), 87, 245, 313, 383
Notes on the Art of Rembrandt. London 1911
BROWN, C. Baldwin. London 1907
Six, J. Gersaint's lyst van Rembrandts Prenten. Qud-Holland XXVII
(1909), 65
10
A CHRONOLOGICAL LIST OF
REMBRANDT'S ETCHINGS
Arranged according to the author's complete catalogue in " Rembrandt's
Etchings, an Essay and a Catalogue " (Methuen, 1912), which follows the
chronological arrangement of the collection in the British Museum. Num-
bers that are obelised (f) are plates of doubtful authenticity; starred
numbers (*) refer to plates not represented in the British Museum. Con-
jectural dates are cited within brackets. Except for Nos. 14.4. (frontispiece),
139 and 164 (on same plate as No. 40), and 196 (on same plate as No.
1 75), the etchings reproduced (entirely from the British Museum collection)
are given in the order of this catalogue, so that plate numbers have been
dispensed with. The Roman numerals following the catalogue numbers
in the underlines to the plates refer to the states of the etchings as described
in the complete catalogue. B. = Bartsch.
1. Rembrandt's Mother : Head and
Bust, three-quarters r. 1628.
B. 354
2. Rembrandt's Mother : Head
only, full face. 1628. B. 352
2.* Rembrandt with a Broad Nose.
(1628) B. 4
3. Rembrandt Bareheaded, with
High Curly Hair : Head and
Bust. (1628.) B. 27
4. Rembrandt Bareheaded : A, Large
Plate Roughly Etched : Head and
Bust. 1629. B. 338
4.* Aged Man of Letters. (1629.)
B. 149
5. Peter and John at the Gate of
the Temple : Roughly Etched.
(1629-30.) B. 95
6. The Small Lion Hunt (with one
Lion). (1629-30.) B. 116
7. Beggar Man and Beggar Woman
Conversing. 1630. B. 164
8. Beggar Seated Warming his
Hands at a Charing Dish. (1630.)
B. 173
9. Beggar Leaning on a Stick, fac-
ing 1. (1630.) B. 163
10. Beggar in a Long Cloak, Sitting
in an Arm-chair. (1630.) B.
1 60
11. Beggar Seated on a Bank. 1630.
B. 174
12. Beggar with a Wooden Leg.
(1630.) B. 179
13. Beggar Man and Beggar Woman
Behind a Bank. (1630 ) B. 165
14. Man in a Cloak and Fur Cap
Leaning against a Bank. (1630.)
B. 151
i 5. Beggar in a High Cap, Standing
and Leaning on a Stick. (1630.)
B. 162
1 6. Ragged Peasant with his Hands
Behind Him, Holding a Stick.
(1630.) B. 172
17. The Flight into Egypt : A
Sketch. (1630.) B. 54
1 8. The Presentation in the Tem-
ple (with the Angel) : small
plate. 1630. B. 51
19. The Circumcision : small plate.
(1630.) 6.48
20. Christ Disputing with the Doc-
tors : small plate. 1630. B. 66
21. Bust of a Man (Rembrandt's
Father r) in full face, wearing a
Close Cap. 1630. B. 304
22. Bust of a Man (Rembrandt's
Father ?) wearing a High Cap,
three-quarters r. 1630. 6.321
II
GREAT ENGRAVERS
23. Bald-headed Man (Rembrandt's
Father ?) in Profile r ; head
only ; bust added afterwards.
1630. B. 292
24. Bald-headed Man (Rembrandt's
Father ?) in Profile r. ; small
bust. 1630. B. 294
25. Three Studies of Old Men's
Heads. (1630.) B. 374
26. Bust of an Old Man with Flow-
ing Beard and White Sleeve.
(1630.) B. 291
27. Bust of an Old Man with Flow-
ing Beard : the Head Bowed
Forward : 1. shoulder unshaded.
1630. B. 325
28. Bust of an Old Man with Flow-
ing Beard : the head inclined
three-quarters r. 1630. B. 309
29. Rembrandt in a Fur Cap : the
Dress Light : bust. 1630. B.
24
30. Rembrandt Bareheaded, in
Sharp Light from r. ; Looking
over his Shoulder : bust. 1630.
B. 10
31. Rembrandt Bareheaded and
Open-mouthed, as if Shouting :
bust. 1630. B. 13
32. Rembrandt in a Cap, Open-
mouthed and Staring : bust in
outline. 1630. B. 320
33. Rembrandt Bareheaded, with
Thick Curling Hair and Small
White Collar : bust. (1630.)
B. i
34. Rembrandt in a Cap, Laughing :
Bust. 1630. B. 316
35. Rembrandt Bareheaded, Lean-
ing Forwards as if Listening :
bust. (1630.) B. 9
36. Rembrandt Bareheaded, Lean-
ing Forward : bust lightly indi-
cated. (1630-1.) B. 5
12
37. Head of a Man in a Fur Cup,
Crying Out. (1631.) 6.327
38. The Blind Fiddler. 1631. B.
138
39. Head of a Man in a High Cap :
three-quarters r. (1631.) B.
302
40. A Polander standing with Stick :
profile to r. (the " Little Po-
lander"). 1631. B. 142
41. Sheet of Studies of Men's Heads
(the plate afterwards cut into five
parts). (1631.) B. 366
42. Diana at the Bath. (1631.)
B. 201
43. Naked Woman Seated on a
Mound. (1631.) B. 198
44. Jupiter and Antiope : the
smaller Plate. (1631.) 6.204
45. A Man Making Water. 1631.
B. 190
46. A Woman Making Water. 1631.
B. 191
47. Bust of an Old Bearded Man
Looking Down, three-quarters r.
1631. B. 260
48. Bust of an Old Man with Flow-
ing Beard : Head Nearly Erect :
Eyes Cast Down : Looking
Slightly 1. 1631. B. 315
49. Bust of an Old Man with Fur
Cap and Flowing Beard : nearly
full face : Eyes Direct. (1631.)
B. 312
50. Rembrandt's Mother with
Hand on Chest : small bust.
1631. B. 349
51. Rembrandt's Mother Seated
Facing r., in an Oriental Head-
dress : half length, Showing
Hands. 1631. B. 348
52. Rembrandt's Mother Seated at
a Table Looking r. : three-
quarter length. (1631.) B. 343
53. Bearded Man (Rembrandt's
Father ?) in Furred Oriental Cap
and Robe : half length. 1631.
B. 263
54. Rembrandt Wearing a Soft Hat,
Cocked : head only : body added
afterwards. 1631. B. 7
55. Rembrandt with Long Bushy
Hair : head only. (1631.) B. 8
56. Rembrandt in a Heavy Fur
Cap: full face: bust. 1631.
B. 16
57. Rembrandt Wearing a Soft Cap:
full face : head only. (1631.) B. 2
58. Rembrandt with Cap Pulled
Forward : bust. (1631.) B. 319
59. Rembrandt with Fur Cap, in an
Oval Border : bust. (1631.) B. 12
f6o. Rembrandt with Bushy Hair
and Contracted Eyebrows : bust.
1631. B. 25
61. Rembrandt Bareheaded, the
Light Falling from the r. : bust.
(1631.) B. 332
t62. Rembrandt in a Slant Fur
Cap : bust. 1631. B. 14
63. Rembrandt in a Cloak with
Falling Collar : bust. 1631. 6.15
f64. Rembrandt with a Jewel in
his Cap. (1631.) Middleton, 18
165. Bust of a Young Man in a
Cap. (1631.) B. 322
66. Rembrandt in a Dark Cloak and
Cap : bust. (1631.) B. 6
67. Rembrandt (?), Scowling, in an
Octagon: head only. (1631.)
B. 336
68. Grotesque Profile : Man in
'High Cap. (1631.) B. 326
69. Peasant with his Hands Behind
his Back. 1631. B. 135
t7o. Bust of a Snub-nosed Man in
a Cap : Profile r. 1631. B. 317
t7l. Bust of a Man in a Cap, Bound
REMBRANDT
Round the Ears and Chin. (1631.)
B. 323
72. Beggar with a Stick, Walking 1.
1631. B. 167
73. Beggar with his 1. Hand Ex-
tended. 1631. B. 150
74. The Blindness of Tobit : A
Sketch. (1631.) B. 153
75. Seated Beggar and his Dog.
1631. B. 175
75.* A Stout Man in a Large Cloak.
(1631.) B. 184
•\j6. Old Woman Seated in a Cot-
tage, with a String of Onions on
the Wall. 1631. B. 134
77. The Leper (" Lazarus Klap ").
1631. B. 171
77.* Beggar Man and Beggar Wo-
man. (1631.) B. 183
78. Two Beggars Tramping towards
the r. (1631.) B. 154
78.* Two Studies of Beggars.
(1631.) B. 182
79. Beggar with a Crippled Hand
Leaning on a Stick r. (1631.)
B. 166
80. Old Beggar Woman with a
Gourd. (1631.) B. 1 68
t8i. Beggar Standing Leaning on a
Stick 1. : small plate. (1631.)
B. 169
t8z. Bust of an Old Woman in
Furred Cloak and Heavy Head-
dress. 1631. B. 355
183. Bust of an Old Woman in a
High Head-dress Bound Round
the Chin. (1631.) B. 358
t84. Bust of a Beardless Man (Rem-
brandt's Father ?) in a Fur Cloak
and Cap : Looking Down : three-
quarters 1. 1631. B. 307
185. Bust of a Bald Man (Rem-
brandt's Father ?) in a Fur Cloak
Looking r. 1631. B. 324
GREAT ENGRAVERS
t86. Bust of a Bald Man Looking
Down, Grinning. 1631. B. 298
t8y. Bust of Bearded Old Man with
High Forehead and Close Cap.
1631. B. 314
t88. Bust of an Old Man Looking
Down, with Wavy Hair and
Beard : cap added afterwards.
(1631.) B. 337
189. Small Bust of Bearded Man
Looking Down, with Eyes Nearly
Closed. (1631.) B. 296
90. Sheet of Studies : Head of
Rembrandt, Beggar Couple, Heads
of Old Man and Old Woman,
etc. (1632.) B. 363
t9i. Rembrandt's Mother in
Widow's Dress and Black Gloves.
(1632) B. 344
92. Old Man Seated, with Flowing
Beard, Fur Cap and Velvet Cloak.
(1632.) B. 262
93. Man Standing in Oriental Cos-
tume and Plumed Fur Cap. 1632.
B. 152
94. St. Jerome Playing : Arched
Print. 1632. B. 101
95. The Holy Family. (1632.) 6.62
96. The Raising of Lazarus : the
larger Plate. (1632.) 6.73
97. The Rat-Killer. 1632. B. 121
98. Polander Leaning on a Stick :
Profile 1. (1632.) B. 141
99. A Turbaned Soldier on Horse-
back. (1632.) B. 139
100. A Cavalry Fight. (1632-3.)
B. 117
101. The Good Samaritan. 1633.
B. 90
1 02. The Descent from the Cross :
first plate. 1633. B. 81, i
103. The Descent from the Cross :
second plate. 1633. B. 8r, u,
etc.
'4
104. Joseph's Coat Brought to
Jacob. (1633.) B. 38
105. The Flight into Egypt : small
plate. 1633. B. 52
1 06. The Ship of Fortune. 1633.
B. in
107. Rembrandt's Mother in a
Cloth Head-dress, Looking Down :
head only. 1633. B. 351
108. Rembrandt in Cap and Scarf:
the Face Dark : bust. 1631. B. 17
109. Rembrandt with Raised Sabre :
half-length. 1634. B. 18
no. Rembrandt with Plumed Cap
and Lowered Sabre : three-
quarter length : afterwards bust
in oval. 1634. B. 23
in. Jan Cornells Sylvius,
Preacher (r). 1634. 6.266
1 12. Rembrandt's Wife Saskia, with
Pearls in her Hair, bust. 1634.
B. 347
113. Woman Reading. 1634. B.
345
114. A Peasant : One of a Pair,
Calling Out. 1634. B. 177
115. A Peasant : the Other of the
Pair, Replying. 1634. B. 178
1 1 6. Two Tramps, a Man and a
Woman. (1634.) B. 144
117. Sheet of Two Slight Studies :
One of Two Peasants. (1634.)
B. 373
1 1 8. Joseph and Potiphar's Wife.
1634. B. 39
119. St. Jerome Reading. 1634.
B. 100
1 20. The Angel Appearing to the
Shepherds. 1634. B. 44
121. Christ at Emmaus : the smaller
plate. 1634. B. 88
122. Christ and the Woman of
Samaria : among Ruins. 1634.
B. 71
123. The Crucifixion : small plate.
(1634.) B. 80
124. The Tribute-Money. (1634.)
B. 68
125. The Stoning of S. Stephen.
1635. .B. 97
126. Christ Driving the Money-
Changers from the Temple. 1635.
B. 69
127. Girl with Hair Falling on her
Shoulders (the " Great Jewish
Bride"). 1635. B. 340
128. Jan Uytenbogaert, Preacher of
the Sect of Arminian Remon-
strants. 1635. B. 279
129. Old Woman Sleeping. (1635-
7-) B. 350
130. Old Bearded Man in a High
Fur Cap, with Closed Eyes.
(1635.) B. 290
131. The First Oriental Head (Rem-
brandt's Father ?). 1635. B- 286
132. The Second Oriental Head
(Rembrandt's Father?). (1635.)
B. 287
133. The Third Oriental Head.
1635. B. 288
134. The Fourth Oriental Head.
(1635-) B. 289
fi35. Head of an Old Man in a
High Fur Cap. (1635.) 6.299.
136. Bald Old Man with a Short
Beard, in profile r. (1635.)
B. 306
fi37- Curly-headed Man with a
Wry Mouth. (1635.) B. 305
138. Polander Standing with Arms
Folded. (1635.) B. 140
139. The Quacksalver. 1635. B.
129
140. St. Jerome Kneeling in Prayer,
Looking Down. 1635. B. 102
141. The Pan-cake Woman. 1635.
B. 124
REMBRANDT
fi42. The Strolling Musicians.
(1635.) B. 119
143. Christ before Pilate : large
plate. 1635-6. B. 77
144. Rembrandt and his Wife
Saskia : busts. 1636. B. 19
145. Studies of the Head of Saskia
and others. 1636. B. 365
146. Samuel Manasseh Ben Israel,
Jewish Author. 1636. B. 269
147. The Return of the Prodigal
Son. 1636. B. 91
148. Abraham Caressing Isaac.
(1637.) B. 33
149. Abraham Casting Out Hagar
and Ishmael. 1637. B. 30
150. Bearded Man Wearing a Velvet
Cap with a Jewel Clasp. 1637.
B. 313
151. Young Man in a Velvet Cap
with Books Beside Him. 1637.
B. 268
152. Three Heads of Women, one
Asleep. 1637. B. 368
153. Three Heads of Women, one
Lightly Etched. (1637.) B.
367
154. Study of Saskia as S. Catherine
(the " Little Jewish Bride ").
1638. B. 342
155. Sheet with Two Studies : a
Tree, and the Upper Part of a
Head Wearing a Velvet Cap.
(1638.) B. 372
156. Rembrandt in Velvet Cap and
Plume, with an Embroidered
Dress : bust. 1638. B. 20
157. Rembrandt in a Flat Cap with
a Shawl About His Shoulders.
(1638.) B. 26
158. Man in a Broad-Brimmed Hat
and Ruff. (1630.) B. 3 1 1
159. Adam and Eve. 1638. B.
28
15
GREAT ENGRAVERS
1 60. Joseph Telling His Dreams.
1638. B. 37
161. The Death of the Virgin.
1639. B. 99
162. The Presentation in the
Temple: an oblong print. (1639.)
B.49
163. Sheet of Studies, with a
Woman Lying 111 in Bed, etc.
(1639.) B. 369
164. A Peasant in a High Cap,
Standing Leaning on a Stick.
1639. B. 133
165. Death Appearing to a Wedded
Couple From An Open Grave.
1639. B. 109
1 66. The Skater. (1639.) 6.156
167. Jan Uytenbogaert, Receiver-
General (the " Gold-Weigher ").
1639. B. 281
1 68. Rembrandt Leaning on a
Stone Sill : half length. 1639.
B. 21
169. Old Man Shading His Eyes
with His Hand. (1639.) 6.259
170. Old Man with a Divided Fur
Cap. 1640. B. 265
171. The Beheading of John the
Baptist. 1640. B. 92
172. The Triumph of Mordecai.
(1640.) B. 40
173. Christ Crucified Between the
Two Thieves : an oval plate.
(1640.) B. 79
174. Sleeping Puppy. (1640.) B.
158
175. Small Grey Landscape: A
House and Trees Beside a Pool.
(1640.) B. 207
176. View of Amsterdam. (1640.)
B, 210
177. Landscape with a Cottage and
Hay Barn : oblong. 1641. B.
A
16
178. Landscape with a Cottage and
a Large Tree. 1641. B. 226
179. The Windmill. 1641. B.
233
1 80. The Small Lion Hunt (with
Two Lions). (1641.) B. 115
I 8 1. The Large Lion Hunt. 1641.
B. 114
182. The Baptism of the Eunuch.
1641. B. 98
183. Jacob and Laban (?). 1641.
B. 118
184. The Spanish Gipsy (Preciosa).
(1641.) B. 120
185. The Angel Departing from
the Family of Tobias. 1641.
B. 185.
1 86. Virgin and Child in the
Clouds. 1641. B. 61
187. Cornelis Claesz Anslo, Men-
nonite Preacher. 1641. B.
271
1 88. Portrait of a Boy, in profile.
1641. B. 310
189. Man at Desk, Wearing Cross
and Chain. 1641. B. 261.
190. The Card-Player. 1641. B.
136
191. Man Drawing from a Cast.
(1641.) B. 130
192. Woman at a Door-hatch Talk-
ing to a Man and Children (the
"Schoolmaster"). 1641. B.
128
193. The Virgin with the Instru-
ments of the Passion. (1641.)
B. 85
194. Man in an Arbour. 1642.
B. 257
195. Girl with a Basket. (1642.)
B. 356.
196. Sick Woman with Large
White Head-dress (Saskia). (1642.)
B. 359
197. Woman in Spectacles, Reading.
(1642.) B. 362
198. The Raising of Lazarus : the
smaller plate. 1642. B. 72
199. The Descent from the Cross :
a Sketch. 1642. B. 82
200. The Flute-Player (L'Espiegle).
1642. B. 188
201. St. Jerome in a Dark Chamber.
1642. B. 105
202. Student at a Table by Candle-
light. (1642.) B. 148
203. Cottage with a White Paling.
1642. B. 232
204. The Hog. 1643. B. 157
205. The Three Trees. 1643. B.
212
206. The Shepherd and his Family.
1644. B. 220
207. The Sleeping Herdsman.
(1644.) B. 189
1208. The Rest on the Flight : a
Night Piece. (1644.) B. 57
109. Six's Bridge. 1645. B. 208
10. The Omval. 1645. 6.209
i. The Boat-house. 1645.6.231
12. Cottages beside a Canal :
with a Church and Sailing Boat.
(1645.) B. 228
13. Cottages and Farm Buildings
with a Man Sketching. (1645.)
B. 219
14. Abraham and Isaac. 1645.
. 34 .
15. Christ Carried to the Tomb.
(1645.) B. 84
1 6. The Rest on the Flight :
lightly etched. 1645. 6.58
17. S. Peter in Penitence. 1645.
B. 96
|i8. Old Man in Meditation, Lean-
ing on a Book. (1645.) B. 147
19. Beggar Woman Leaning on a
Stick. 1646. B. 70
R
REMBRANDT
220. Study from the Nude : Man
Seated Before a Curtain. 1646.
B. 193
221. Study from the Nude : Man
Seated on the Ground with One
Leg Extended. 1646. B. 196
222. Studies from the Nude : One
Man Seated and Another Stand-
ing : with a Woman and Baby
lightly etched in the background.
(1646.) B. 194^
223. Le Lit a la Franchise (Lede-
kant). 1646. B. 186
224. The Monk in the Cornfield.
(1646.) B. 187
225. Jan Cornelis Sylvius, Preacher :
posthumous portrait. 1646. B.
280
226. Ephraim Bonus, Jewish Phy-
sician. 1647. B. 278
227. Jan Asselyn, Painter. (1647.)
B. 277
228. Jan Six. 1647. B. 285
229. Rembrandt Drawing at a
Window. 1648. B. 22
230. Sheet of Studies with the
Head of Rembrandt, a Beggar
Man, Woman and Child. (1648.)
B. 370
231. The Artist Drawing from a
Model : unfinished plate. (1648.)
B. 192
232. S. Jerome Beside a Pollard
Willow. 1648. B. 103
233. Beggars Receiving Alms at the
Door of a House. 1648. B. 176
234. Jews in a Synagogue. 1648.
B. 126
235. Medea: or the Marriage of
Jason and Creusa. 1648. B. 112
236. Christ, with the Sick Around
Him, receiving Little Children
(the " Hundred Guilder Print ").
(1649.) B- 74
i 17
GREAT ENGRAVERS
237. The Incredulity of Thomas.
1650. 6.89
238. Canal with an Angler and Two
Swans. 1650. B. 235
239. Canal with a Large Boat and
Bridge. 1650. B. 236
240. Landscape with a Cow Drink-
ing. (1650.) B. 237
241. Landscape with a Hay Barn
and a Flock of Sheep. 1650.
B. 224
242. Landscape with a Milk-man.
(1650.) B. 213
243. Landscape with an Obelisk.
(1650.) B. 227
244. Landscape with Trees, Farm-
buildings and a Tower. 1650.
B. 223
245. Landscape with a Square
Tower. 1650. B. 218
246. Landscape with Three Gabled
Cottages Beside a Road. 1650.
B. 217
247. The Bull. (1650.) B. 253
248. The Shell. 1650. B. 159
249. The Goldweigher's Field.
1651. B. 234
250. The Bathers. 1651. B. 195
251. Clement deJonghe,Printseller.
1651. B. 272
252. The Blindness of Tobit : the
larger plate. 1651. B. 42
253. The Flight into Egypt : a
Night Piece. 1651. B. 53
254. The Star of the Kings : a
Night Piece. (1652.) B. 113
255. Adoration of the Shepherds ;
a Night Piece. (1652.) B. 46
256. Christ Preaching (" la Petite
Tombe"). (1652.) 6.57
257. Christ Disputing with the
Doctors : a sketch. 1652. 6.65
258. David in Prayer. 1652. B.
259. Peasant Family on the Tramp.
(1652.) B. 131
260. Faust in His Study, Watching
a Magic Disk. (1652.) B. 270
261. Titus Van Ryn, Rembrandt's
Son. (1656.) B. 1 1
262. Sheet of Studies, with a Wood
and Paling, Part of Two Heads,
and a Horse and Cart. (1652.)
B. 364
263. Clump of Trees with a Vista.
1652. B. 222
264. Landscape with a Road Beside
a Canal. (1652.) B. 221
265. Landscape with Sportsman and
Dogs. (1653.) B. 211
266. The Flight into Egypt : altered
from Tobias and the Angel by
Hercules Seghers. (1653.) 6.56
267. S. Jerome Reading, in an
Italian Landscape. (1653.)
B. 104
268. Jan Antonides vander Linden,
Professor of Medicine. 1665.
B. 264
269. LievenWillemszVan Coppenol,
Writing-Master: thesmaller plate.
(1653.) B. 282
270. Christ Crucified between the
Two Thieves : large oblong plate
(the "Three Crosses"). 1653.
B. 78
271. Christ Presented to the People:
large oblong plate. 1655. B. 76
272. The Golf - Player. 1654.
B. 125
273. The Adoration of the Shej
herds (with the Lamp). (1654.)
B. 45
274. The Circumcision (in the
Stable). 1654. B. 47
275. The Virgin and Child witl
the Cat : and Joseph at th<
Window. 1654. B. 63
276. The Flight into Egypt : Holy
Family Crossing a Brook. 1654.
B.55-
277. Christ Seated Disputing with
the Doctors. 1654. B. 64
278. Christ Between His Parents,
Returning from the Temple.
1654. B. 60
279. The Presentation in the
Temple : in the Dark Manner.
(1654-) B. 50
280. The Descent from the Cross :
by Torchlight. 1654. B. 83
281. The Entombment. (1654.)
B. 86
282. Christ at Emmaus : the larger
plate. 1654. B. 87.
283. Abraham's Sacrifice. 1655.
B. 35
284. Four Illustrations to a Spanish
Book. (A. The Image seen by
Nebuchadnezzar. B. Jacob's
Ladder. C. David and Goliath.
D. Daniel's Vision of Four
Beasts.) 1655. B. 36
285. TheGoldsmith. 1655. B. 123
286. Abraham Entertaining the
Angels. 1656. B. 29
287. Jacob Haaring (the " Old
Haaring''). (1655.) B. 274
288. Thomas Jacobsz Haaring (the
"Young Haaring.") 1655. 6.275
289. Arnold Tholinx, Inspector of
Medical Colleges at Amsterdam.
(1656.) B. 284
REMBRANDT
290. Jan Lutma, the Elder, Gold-
smith and Sculptor. 1656.
B. 276
291. Abraham Francen, Art Dealer.
(1656.) B. 273
292. S. Francis Beneath a Tree,
Praying. 1657. B. 107
293. The Agony in the Garden.
(1657.) B. 75
294. Christ and the Woman of
Samaria : an Arched Print. 1658.
B. 70
291;. The Phcenix ; or the Statue
Overthrown : an Allegory of
DoubtfulMeaning. 1658. B. 110
296. Woman Sitting Half Dressed
Beside a Stove. 1658. B. 197
297. Woman at the Bath, with a
Hat Beside Her. 1658. B. 199
298. Woman Bathing Her Feet at a
Brook. 1658. B. 200
299. Negress Lying Down. 1658.
B. 205
300. LievenWillemszVan Coppenol,
Writing-Master : the larger plate.
(1658.) B. 283
300*. Rembrandt Etching. 1658.
Seidlitz, 379
301. Peter and John Healing the
Cripple at the Gate of the Temple.
1659. B. 94
302. Jupiter and Antiope : the
larger plate. 1659. B. 203
303. The Woman with the Arrow.
1 66 1. B. 202
The title-page border is taken from a portrait etching by Juriaen Ovens,
of Frederics III of Holstein Gottdorp.
I, i. REMBRANDT'S MOTHER, Unfinished state. 1628. B. 354.
»•
7,1. BEGGAR MAN AND BEGGAR WOMAN CONVERSING.
1630. B. 164
20, i. CHRIST DISPUTING WITH THE DOCTORS : SMALL PLATE.
1630. B. 66
i
23, i. BALD-HEADED MAN (REMBRANDT'S FATHER ?) In profile r.s
head only, bust added afterwards. 1630. B. 292. First state, the
body being merely indicated in ink
38, n. THE BLIND FIDDLER. 1631. B. 138
40. THE LITTLE POLANDER. 1631. B. 142
139. THE QUACKSALVER. 1635. B. 129
164. A PEASANT IN A HIGH CAP, STANDING LEANING ON
STICK. 1639. B. 133
52, in. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.
R 2
54, vi. REMBRANDT WEARING A SOFT HAT, COCKED. 1631.
B. 7. Later state, the body added.
57- REMBRANDT WEARING A SOFT CAP. (1631.) B. 2
97, i. THE RAT-KILLER. 1632. B. 121
i io, i. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23
This plate was afterwards cut down to a bust in an oval.
H2. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER
HAIR. 1634. B. 347
127, i. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state
129. OLD WOMAN SLEEPING. (1635-7.) B- 35°-
147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91
m
I
* 3
I5i, ii. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESL
HIM. 1637. B. 268
153, i. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with
one head (portrait of Saskia) cnly
—
i6i, i. THE DEATH OF THE VIRGIN. 1639. B- 99
167, i. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE "GOLD-
WEIGHER "). 1639. B- 2Sl- First state> the face onl7 lightly
indicated
1 68, i. REMBRANDT LEANING ON A STONE SILL. 1639. c- 2I
From an impression touched by the artist in black chalk
_
r • ,. • .::•: .
I
172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40
175- SMALL GREY LANDSCAPE. (1640.) B. 207
196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA).
(1642.) B. 359
*-. •
176, ii. VIEW OF AMSTERDAM. (1640.) B. 210
179- THE WINDMILL. 1641. B. 233
184. THE SPANISH GIPSY. (1641.) B. 120
198, i. THE RAISING OF LAZARUS. 1642. B. 72
205. THE THREE TREES. (1643.) B. 212
209, i. SIX'S BRIDGE. 1645. B. 208
215- CHRIST CARRIED TO THE TOMB. (1645.) B. 84
2i6. THE REST ON THE FLIGHT : LIGHTLY ETCHED. 1645. B. 58
228, ii. JAN SIX. 1647. B. 285
229, i. REMBRANDT DRAWING AT A WINDOW. 1648. B. 22.
Unfinished state.
231, i. THE ARTIST DRAWING FROM A MODEL, (1648, or later r)
B. 192. Unfinished plate
232, ,. ST. JEROME BESIDE A POLLARD WILLOW. 1648. B. 103
234, i- JEWS IN SYNAGOGUE. 1648. B. 126
236, i. CHRIST, WITH THE SICK AROUND HIM, RECEIVING
LITTLE CHILDREN (The " Hundred Guilder Print ").
(1649.) B. 74. First state, before adding shading on the neck
of the ass, r. Only nine impressions of this state are known,
two being in the British Museum
239, i. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236
242, i. LANDSCAPE WITH A MILKMAN. (1650.) B. 213
\
— T- -
244, "i- LANDSCAPE WITH TREES, FARM BUILDINGS AND A
TOWER. (1650.) B. 223. The two earlier states show the tower
surmounted by a cupola, which was burnished out to increase the
concentration of the subject
R6
249. THE GOLDWEIGHER'S FIELD. 1651. B. 234
1 -
251, i. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272
252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651,
6.42
. THE STAR OF THE KINGS : A NIGHT PIECE. (1652.) B. 113
256. CHRIST PREACHING (" LA PETITE TOMBE "). 1652 B. 67
257, i. CHRIST DISPUTING WITH THE DOCTORS : A SKETCH-
1652. B. 65
z6i. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. n
264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221
R 7
267, i. ST. JEROME READING, IN AN ITALIAN LANDSCAPE.
(1653.) B. 104
270, i. THE THREE CROSSES. 1653. B. 78. First state
270, iv. THE THREE CROSSES. 1653. B. 78. Fourth state. The
plate entirely transformed : the figures in the middle and foreground,
/. almost entirely effaced ; a new group added /. of the central
cross, the centurion being copied from a medal by Pisanello
, i. CHRIST PRESENTED TO THE PEOPLE. 1655. B. 76.
First state
271, v. CHRIST PRESENTED TO THE PEOPLE. 1655. B. 76. Fifth
state, all the foreground figures in front of the tribune erased,
concentrating the subject on the central figure
275, i. THE VIRGIN AND CHILD WITH THE CAT. 1654. B- 63
279. THE PRESENTATION IN THE TEMPLE : IN THE DARK
MANNER. (1654.) B- 5°
28i, T. THE ENTOMBMENT. (1654.) B- 86. The print is greatl/
darkened in its later states
282, ,. CHRIST AT EMMAUS : THE LARGER PLATE. 1654. B. 87
286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29
z87, ii. JACOB HAARING (THE " OLD HAARING "). (1655.) B. 274
288, i. THOMAS JACOBSZ HAARIMG (THE " YOUNG HAARING ").
1655. B. 275
289, I- ARNOLD THOLINX. (1656.) B. 284. This first state, before the
addition of further lines of shading on the breast, is only known in
two impressions (British Museum, and Baron Edmond de Rothschild,
Paris)
290, i. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR.
1656. B. 276. First state, before the addition of a window in the
background
303, i. THE WOMAN WITH THE ARROW. 1661. B. 202
PRINTED AT THE BALLANTYNE PRESS LONDON
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