Rembrandt, With a Complete List of his Etchings

Fredk. A. Stokes Company
1912

Contents

• REMBRANDT
• BOOKS OF REFERENCE
• A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS

Illustrations

• 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
• 1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.
• 7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164
• 20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66
• 23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile r.; head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink
• 38, II. 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 A STICK. 1639. B. 133
• 52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.
• 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
• 110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was afterwards cut down to a bust in an oval.
• 112. 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. 350.
• 147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91
• 151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268
• 153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only
• 161, I. THE DEATH OF THE VIRGIN. 1639. B. 99
• 167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated
• 168, I. REMBRANDT LEANING ON A STONE SILL. 1639. B. 21 From an impression touched by the artist in black chalk
• 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
• 216. 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?) B. 192. Unfinished plate
• 232, I. 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
• 244, III. 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
• 249. THE GOLDWEIGHER'S FIELD. 1651. B. 234
• 251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272
• 252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651. B. 42
• 254. 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
• 261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11
• 264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221
• 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: ihe figures in the middle and foreground, l., almost entirely effaced; a new group added l. of the central cross,
• 271, 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. 50.
• 281, I. THE ENTOMBMENT. (1654.) B. 86. The Print is greatly darkened in its later states
• 282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87
• 286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29
• 287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274
• 288, I. THOMAS JACOBSZ HAARIXG (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

REMBRANDT

[pg 5]

The formal style of art, the essence of line-engraving, reached its zenith in Albrecht Dürer. And Dürer 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. [pg 6] But it must also be confessed that the overwhelmingly large proportion 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 popularity 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 [pg 7] 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 unprotected 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 comparative 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 [pg 8] 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 produced 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 entirely 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 (271) and the Landscape with trees, farm-buildings, 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 wonderful 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.

[pg 9]

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

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. Numbers that are obelised (†) are plates of doubtful authenticity; starred numbers (*) refer to plates not represented in the British Museum. Conjectural dates are cited within brackets. Except for Nos. 144 (frontispiece), 139 and 164 (on same plate as No. 40), and 196 (on same plate as No. 175), 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 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 Chafing Dish. (1630.) B. 173
	9. Beggar Leaning on a Stick, facing l. (1630.) B. 163
	10. Beggar in a Long Cloak, Sitting in an Arm-chair. (1630.) B. 160
	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
	15. Beggar in a High Cap, Standing and Leaning on a Stick. (1630.) B. 162
	16. Ragged Peasant with his Hands Behind Him, Holding a Stick. (1630.) B. 172
	17. The Flight into Egypt: A Sketch. (1630.) B. 54
	18. The Presentation in the Temple (with the Angel): small plate. 1630. B. 51
	19. The Circumcision: small plate. (1630.) B. 48
	20. Christ Disputing with the Doctors: small plate. 1630. B. 66
	21. Bust of a Man (Rembrandt's Father?) 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. B. 321
	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 Flowing Beard and White Sleeve. (1630.) B. 291
	27. Bust of an Old Man with Flowing Beard: the Head Bowed Forward: l. shoulder unshaded. 1630. B. 325
	28. Bust of an Old Man with Flowing 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. 1
	34. Rembrandt in a Cap, Laughing: Bust. 1630. B. 316
	35. Rembrandt Bareheaded, Leaning Forwards as if Listening: bust. (1630.) B. 9
	36. Rembrandt Bareheaded, Leaning Forward: bust lightly indicated. (1630-1.) B. 5
	37. Head of a Man in a Fur Cup, Crying Out. (1631.) B. 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 Polander”). 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.) B. 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 Flowing Beard: Head Nearly Erect: Eyes Cast Down: Looking Slightly l. 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 Headdress: 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
	†60. Rembrandt with Bushy Hair and Contracted Eyebrows: bust. 1631. B. 25
	61. Rembrandt Bareheaded, the Light Falling from the r.: bust. (1631.) B. 332
	†62. Rembrandt in a Slant Fur Cap: bust. 1631. B. 14
	63. Rembrandt in a Cloak with Falling Collar: bust. 1631. B. 15
	†64. Rembrandt with a Jewel in his Cap. (1631.) Middleton, 18
	†65. 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
	†70. Bust of a Snub-nosed Man in a Cap: Profile r. 1631. B. 317
	†71. Bust of a Man in a Cap, Bound Round the Ears and Chin. (1631.) B. 323
	72. Beggar with a Stick, Walking l. 1631. B. 167
	73. Beggar with his l. Hand Extended. 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
	†76. Old Woman Seated in a Cottage, with a String of Onions on the Wall. 1631. B. 134
	77. The Leper (“Lazarus Klap”). 1631. B. 171
	77.* Beggar Man and Beggar Woman. (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. 168
	†8l. Beggar Standing Leaning on a Stick l.: small plate. (1631.) B. 169
	†82. Bust of an Old Woman in Furred Cloak and Heavy Headdress. 1631. B. 355
	†83. Bust of an Old Woman in a High Head-dress Bound Round the Chin. (1631.) B. 358
	†84. Bust of a Beardless Man (Rembrandt's Father?) in a Fur Cloak and Cap: Looking Down: three-quarters l. 1631. B. 307
	†85. Bust of a Bald Man (Rembrandt's Father?) in a Fur Cloak Looking r. 1631. B. 324
	†86. Bust of a Bald Man Looking Down, Grinning. 1631. B. 298
	†87. Bust of Bearded Old Man with High Forehead and Close Cap. 1631. B. 314
	†88. Bust of an Old Man Looking Down, with Wavy Hair and Beard: cap added afterwards. (1631.) B. 337
	†89. 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
	†91. 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 Costume and Plumed Fur Cap. 1632. B. 152
	94. St. Jerome Playing: Arched Print. 1632. B. 101
	95. The Holy Family. (1632.) B. 62
	96. The Raising of Lazarus: the larger Plate. (1632.) B. 73
	97. The Rat-Killer. 1632. B. 121
	98. Polander Leaning on a Stick: Profile l. (1632.) B. 141
	99. A Turbaned Soldier on Horseback. (1632.) B. 139
	100. A Cavalry Fight. (1632-3.) B. 117
	101. The Good Samaritan. 1633. B. 90
	102. The Descent from the Cross: first plate. 1633. B. 81, I
	103. The Descent from the Cross: second plate. 1633. B. 81, II, etc.
	104. Joseph's Coat Brought to Jacob. (1633.) B. 38
	105. The Flight into Egypt: small plate. 1633. B. 52
	106. The Ship of Fortune. 1633. B. 111
	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. 1633. B. 17
	109. Rembrandt with Raised Sabre: half-length. 1634. B. 18
	110. Rembrandt with Plumed Cap and Lowered Sabre: three-quarter length: afterwards bust in oval. 1634. B. 23
	111. Jan Cornelis Sylvius, Preacher (r). 1634. B. 266
	112. 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
	116. Two Tramps, a Man and a Woman. (1634.) B. 144
	117. Sheet of Two Slight Studies: One of Two Peasants. (1634.) B. 373
	118. Joseph and Potiphar's Wife. 1634. B. 39
	119. St. Jerome Reading. 1634. B. 100
	120. 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 Remonstrants. 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 (Rembrandt's Father?). 1635. B. 286
	132. The Second Oriental Head (Rembrandt's Father?). (1635.) B. 287
	133. The Third Oriental Head. 163;. B. 288
	134. The Fourth Oriental Head. (1635.) B. 289
	†l35. Head of an Old Man in a High Fur Cap. (1635.) B. 299
	136. Bald Old Man with a Short Beard, in profile r. 0635.) B. 306
	†137. 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
	†142. 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. 311
	159. Adam and Eve. 1638. B. 28
	160. 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 Ill 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
	166. The Skater. (1639.) B. 156
	167. Jan Uytenbogaert, Receiver-General (the “Gold-Weigher”). 1639. B. 281
	168. Rembrandt Leaning on a Stone Sill: half length. 1639. B. 21
	169. Old Man Shading His Eyes with His Hand. (1639.) B. 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. 225
	178. Landscape with a Cottage and a Large Tree. 1641. B. 226
	179. The Windmill. 1641. B. 233
	180. The Small Lion Hunt (with Two Lions). (1641.) B. 115
	181. 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.
	186. Virgin and Child in the Clouds. 1641. B. 61
	187. Cornelis Claesz Anslo, Mennonite Preacher. 1641. B. 271
	188. 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 Talking to a Man and Children (the “Schoolmaster”). 1641. B. 128
	193. The Virgin with the Instruments 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 Candlelight. (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
	208. The Rest on the Flight: a Night Piece. (1644.) B. 57
	209. Six's Bridge. 1645. B. 208
	210. The Omval. 1645. B. 209
	211. The Boat-house. 1645. B. 231
	212. Cottages beside a Canal: with a Church and Sailing Boat. (1645.) B. 228
	213. Cottages and Farm Buildings with a Man Sketching. (1645.) B. 219
	214. Abraham and Isaac. 1645. B. 34
	215. Christ Carried to the Tomb. (1645.) B. 84
	216. The Rest on the Flight: lightly etched. 1645. B. 58
	217. S. Peter in Penitence. 1645. B. 96
	218. Old Man in Meditation, Leaning on a Book. (1645.) B. 147
	219. Beggar Woman Leaning on a Stick. 1646. B. 70
	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 Standing: with a Woman and Baby lightly etched in the background. (1646.) B. 194
	223. Le Lit à la Française (Ledekant). 1646. B. 186
	224. The Monk in the Cornfield. (1646.) B. 187
	225. Jan Cornells Sylvius, Preacher: posthumous portrait. 1646. B. 280
	226. Ephraim Bonus, Jewish Physician. 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
	237. The Incredulity of Thomas. 1650. B. 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 Drinking. (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 de Jonghe, 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.) B. 57
	257. Christ Disputing with the Doctors: a sketch. 1652. B. 65
	258. David in Prayer. 1652. B. 41
	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. 11
	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.) B. 56
	267. S. Jerome Reading, in an Italian Landscape. (1653.) B. 104
	268. Jan Antonides van der Linden, Professor of Medicine. 1665. B. 264
	269. Lieven Willemsz Van Coppenol, Writing-Master: the smaller 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 Shepherds (with the Lamp). (1654.) B. 45
	274. The Circumcision (in the Stable). 1654. B. 47
	275. The Virgin and Child with the Cat: and Joseph at the 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. The Goldsmith. 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. B. 275
	289. Arnold Tholinx, Inspector of Medical Colleges at Amsterdam. (1656.) B. 284
	290. Jan Lutma, the Elder, Goldsmith 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
	295. The Phrenix; or the Statue Overthrown: an Allegory of Doubtful Meaning. 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. Lieven Willemsz Van 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. 103
	303. The Woman with the Arrow. 1661. B. 202

The title-page border is taken from a portrait etching by Juriaen Ovens, of Frederick III of Holstein Gottdorp.

[pg 21] [pg 23] [pg 25] [pg 27] [pg 29] [pg 31] [pg 33] [pg 35] [pg 37] [pg 39] [pg 41] [pg 43] [pg 45] [pg 47] [pg 49] [pg 51] [pg 53] [pg 55] [pg 57] [pg 59] [pg 61] [pg 63] [pg 65] [pg 67] [pg 69] [pg 71] [pg 73] [pg 75] [pg 77] [pg 79] [pg 81] [pg 83] [pg 85] [pg 87] [pg 89] [pg 91] [pg 93] [pg 95] [pg 97] [pg 99] [pg 101] [pg 103] [pg 105] [pg 107] [pg 109] [pg 111] [pg 113] [pg 115] [pg 117] [pg 119] [pg 121] [pg 123] [pg 125] [pg 127] [pg 129] [pg 131] [pg 133] [pg 135] [pg 137] [pg 139] [pg 141] [pg 143]

PRINTED AT THE BALLANTYNE PRESS LONDON