Rembrandt, With a Complete List of his EtchingsArthur M. HindFredk. A. Stokes Company1912144, II. Rembrandt and his Wife, Saskia, 1636, B. 19144, II. Rembrandt and his Wife, Saskia, 1636, B. 19ContentsREMBRANDTBOOKS OF REFERENCEA CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGSIllustrations144, II. Rembrandt and his Wife, Saskia, 1636, B. 191, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 16420, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 6623, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profiler.;head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink38, II. THE BLIND FIDDLER. 1631. B. 13840. 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. 13352, 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. 297, I. THE RAT-KILLER. 1632. B. 121110, 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. 347127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state129. OLD WOMAN SLEEPING. (1635-7.) B. 350.147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only161, I. THE DEATH OF THE VIRGIN. 1639. B. 99167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated168, I. REMBRANDT LEANING ON A STONE SILL. 1639. B. 21 From an impression touched by the artist in black chalk172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40175. SMALL GREY LANDSCAPE. (1640.) B. 207. 196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359176, II. VIEW OF AMSTERDAM. (1640.) B. 210179. THE WINDMILL. 1641. B. 233184. THE SPANISH GIPSY. (1641.) B. 120198, I. THE RAISING OF LAZARUS. 1642. B. 72205. THE THREE TREES. (1643.) B. 212209, I. SIX'S BRIDGE. 1645. B. 208215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58228, II. JAN SIX. 1647. B. 285229, 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 plate232, I. ST. JEROME BESIDE A POLLARD WILLOW. 1648. B. 103234, I. JEWS IN SYNAGOGUE. 1648. B. 126236, 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 Museum239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213244, 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 subject249. THE GOLDWEIGHER'S FIELD. 1651. B. 234251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651. B. 42254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104270, I. THE THREE CROSSES. 1653. B. 78. First state270, 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 addedl.of the central cross,271, I. CHRIST PRESENTED TO THE PEOPLE. 1655. B 76. First state271, 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 figure275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63279. 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 states282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 1655. B. 275289, 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 background303, I. THE WOMAN WITH THE ARROW. 1661. B. 202
Rembrandt, With a Complete List of his EtchingsArthur M. HindFredk. A. Stokes Company1912144, II. Rembrandt and his Wife, Saskia, 1636, B. 19144, II. Rembrandt and his Wife, Saskia, 1636, B. 19ContentsREMBRANDTBOOKS OF REFERENCEA CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGSIllustrations144, II. Rembrandt and his Wife, Saskia, 1636, B. 191, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 16420, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 6623, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profiler.;head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink38, II. THE BLIND FIDDLER. 1631. B. 13840. 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. 13352, 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. 297, I. THE RAT-KILLER. 1632. B. 121110, 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. 347127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state129. OLD WOMAN SLEEPING. (1635-7.) B. 350.147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only161, I. THE DEATH OF THE VIRGIN. 1639. B. 99167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated168, I. REMBRANDT LEANING ON A STONE SILL. 1639. B. 21 From an impression touched by the artist in black chalk172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40175. SMALL GREY LANDSCAPE. (1640.) B. 207. 196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359176, II. VIEW OF AMSTERDAM. (1640.) B. 210179. THE WINDMILL. 1641. B. 233184. THE SPANISH GIPSY. (1641.) B. 120198, I. THE RAISING OF LAZARUS. 1642. B. 72205. THE THREE TREES. (1643.) B. 212209, I. SIX'S BRIDGE. 1645. B. 208215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58228, II. JAN SIX. 1647. B. 285229, 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 plate232, I. ST. JEROME BESIDE A POLLARD WILLOW. 1648. B. 103234, I. JEWS IN SYNAGOGUE. 1648. B. 126236, 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 Museum239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213244, 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 subject249. THE GOLDWEIGHER'S FIELD. 1651. B. 234251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651. B. 42254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104270, I. THE THREE CROSSES. 1653. B. 78. First state270, 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 addedl.of the central cross,271, I. CHRIST PRESENTED TO THE PEOPLE. 1655. B 76. First state271, 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 figure275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63279. 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 states282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 1655. B. 275289, 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 background303, I. THE WOMAN WITH THE ARROW. 1661. B. 202
Rembrandt, With a Complete List of his EtchingsArthur M. HindFredk. A. Stokes Company1912
Arthur M. Hind
144, II. Rembrandt and his Wife, Saskia, 1636, B. 19144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
144, II. Rembrandt and his Wife, Saskia, 1636, B. 19144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
ContentsREMBRANDTBOOKS OF REFERENCEA CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS
Illustrations144, II. Rembrandt and his Wife, Saskia, 1636, B. 191, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 16420, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 6623, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profiler.;head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink38, II. THE BLIND FIDDLER. 1631. B. 13840. 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. 13352, 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. 297, I. THE RAT-KILLER. 1632. B. 121110, 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. 347127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state129. OLD WOMAN SLEEPING. (1635-7.) B. 350.147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only161, I. THE DEATH OF THE VIRGIN. 1639. B. 99167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated168, I. REMBRANDT LEANING ON A STONE SILL. 1639. B. 21 From an impression touched by the artist in black chalk172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40175. SMALL GREY LANDSCAPE. (1640.) B. 207. 196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359176, II. VIEW OF AMSTERDAM. (1640.) B. 210179. THE WINDMILL. 1641. B. 233184. THE SPANISH GIPSY. (1641.) B. 120198, I. THE RAISING OF LAZARUS. 1642. B. 72205. THE THREE TREES. (1643.) B. 212209, I. SIX'S BRIDGE. 1645. B. 208215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58228, II. JAN SIX. 1647. B. 285229, 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 plate232, I. ST. JEROME BESIDE A POLLARD WILLOW. 1648. B. 103234, I. JEWS IN SYNAGOGUE. 1648. B. 126236, 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 Museum239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213244, 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 subject249. THE GOLDWEIGHER'S FIELD. 1651. B. 234251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651. B. 42254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104270, I. THE THREE CROSSES. 1653. B. 78. First state270, 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 addedl.of the central cross,271, I. CHRIST PRESENTED TO THE PEOPLE. 1655. B 76. First state271, 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 figure275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63279. 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 states282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 1655. B. 275289, 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 background303, I. THE WOMAN WITH THE ARROW. 1661. B. 202