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]

1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.

[pg 23]

7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164

[pg 25]

20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66

[pg 27]

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

[pg 29]

38, II. THE BLIND FIDDLER. 1631. B. 138

[pg 31]

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

[pg 33]

52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.

[pg 35]

54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the body added.

[pg 37]

57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2

[pg 39]

97, I. THE RAT-KILLER. 1632. B. 121

[pg 41]

110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was afterwards cut down to a bust in an oval.

[pg 43]

112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347

[pg 45]

127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state

[pg 47]

129. OLD WOMAN SLEEPING. (1635-7.) B. 350.

[pg 49]

147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91

[pg 51]

151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268

[pg 53]

153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only

[pg 55]

161, I. THE DEATH OF THE VIRGIN. 1639. B. 99

[pg 57]

167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated

[pg 59]

168, I. REMBRANDT LEANING ON A STONE SILL. 1639. B. 21 From an impression touched by the artist in black chalk

[pg 61]

172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40

[pg 63]

175. SMALL GREY LANDSCAPE. (1640.) B. 207. 196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359

[pg 65]

176, II. VIEW OF AMSTERDAM. (1640.) B. 210

[pg 67]

179. THE WINDMILL. 1641. B. 233

[pg 69]

184. THE SPANISH GIPSY. (1641.) B. 120

[pg 71]

198, I. THE RAISING OF LAZARUS. 1642. B. 72

[pg 73]

205. THE THREE TREES. (1643.) B. 212

[pg 75]

209, I. SIX'S BRIDGE. 1645. B. 208

[pg 77]

215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84

[pg 79]

216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58

[pg 81]

228, II. JAN SIX. 1647. B. 285

[pg 83]

229, I. REMBRANDT DRAWING AT A WINDOW. 1648. B. 22. Unfinished state.

[pg 85]

231, I. THE ARTIST DRAWING FROM A MODEL, (1648, or later?) B. 192. Unfinished plate

[pg 87]

232, I. ST. JEROME BESIDE A POLLARD WILLOW. 1648. B. 103

[pg 89]

234, I. JEWS IN SYNAGOGUE. 1648. B. 126

[pg 91]

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

[pg 93]

239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236

[pg 95]

242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213

[pg 97]

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

[pg 99]

249. THE GOLDWEIGHER'S FIELD. 1651. B. 234

[pg 101]

251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272

[pg 103]

252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651. B. 42

[pg 105]

254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113

[pg 107]

256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67

[pg 109]

257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65

[pg 111]

261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11

[pg 113]

264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221

[pg 115]

267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104

[pg 117]

270, I. THE THREE CROSSES. 1653. B. 78. First state

[pg 119]

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,

[pg 121]

271, I. CHRIST PRESENTED TO THE PEOPLE. 1655. B 76. First state

[pg 123]

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

[pg 125]

275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63

[pg 127]

279. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. (1654.) B. 50.

[pg 129]

281, I. THE ENTOMBMENT. (1654.) B. 86. The Print is greatly darkened in its later states

[pg 131]

282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87

[pg 133]

286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29

[pg 135]

287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274

[pg 137]

288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 1655. B. 275

[pg 139]

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)

[pg 141]

290, I. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background

[pg 143]

303, I. THE WOMAN WITH THE ARROW. 1661. B. 202

PRINTED AT THE BALLANTYNE PRESS LONDON