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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 


MAY  &  u 


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