Art Lib.
XI
If 3f
513
OF FINE ARTS.
PRINT DEPARTMENT.
EXHIBITION
OF
AND OF ARTISTS OF HIS CIRCLE,
iGETHER WITH ENGRAVINGS, ETCHINGS, ETC., FROM PAINTINGS
AND SKETCHES BY HIM. PRINCIPALLY FROM
THE COLLECTION OF
MR. HENRY F. SEWALL,
OF NEW YORK.
APRIL, 26 TO JUNE SO, 1887.
BOSTON:
PRINTED FOR THE MUSEUM BY ALFRED MUDGE & SON,
24 FRANKLIN STREET.
1887.
THE PRINT DEPARTMENT
of the Museum of Fine Arts comprises the Gray Collection
(about 6,000 prints), deposited by Harvard College ; a collection
of engraved portraits, etc., bequeathed by the late Charles
Sumner; a collection of etchings by Jacque, Whistler, and
Haden, deposited by the Boston Athenaeum ; several thousand
prints presented by Mr. George W. Wales, including a com-
plete set of the Arundel Society's publications ; a small col-
lection of engravings by the late John Cheney and other
American engravers, presented by Mrs. Ednah D. Cheney; a
fine collection of proofs of American etchings and wood en-
gravings, many of them signed, presented partly by the artists
themselves, partly by the Century Company and other publish-
ing houses; and divers other engravings and etchings, the
gifts either of the artists or of other friends of the institution,
the whole constituting at present a collection (constantly grow-
ing) of about ten thousand prints.
The Sumner portraits and a few other engravings from the
Sumner bequest are displayed permanently in frames hung
above the wall screens in the First Print Room. Exhibitions
of prints, ancient and modern, are arranged in the First and
Second Print Rooms, and are frequently changed. The prints
not on exhibition can be seen on application to the curator, who
is in attendance on Tuesdays and Wednesdays. It is advisable,
however, to apply for an appointment, either personally or by
letter, at least one week in advance. This is suggested for the
convenience of visitors. The rules governing the Gray Collec-
tion requiring that no one but the curator be allowed to handle
the prints, he must give personal attention to each visitor, and
must, therefore, have time to arrange appointments so that they
may not interfere with one another.
Persons specially interested in prints are requested to send
their names and addresses to the curator, so that they may be
notified of the opening of exhibitions, new acquisitions, etc.
Address all communications to THE CURATOR OF THE
PRINT DEPARTMENT, MUSEUM OF FINE ARTS, BOSTON, MASS.
PRINT DEPARTMENT.
KXHIBITION
THE ETCHED WORK OF REMBRANDT,
AND OF ARTISTS OF HIS CIRCLE,
TOGETHER WITH ENGRAVINGS, ETCHINGS, ETC., FROM PAINTINGS
AND SKETCHES BY HIM. PRINCIPALLY FROM
THE COLLECTION OF
MR. HENRY F. SEWALL,
OF NEW YORK.
APRIL 26 TO JUNE 3O, 1887.
BOSTON:
PRINTED FOR THE MUSEUM BY ALFRED MUDGF & SON,
24 FRANKLIN STREET.
1887.
SRLF
INTRODUCTION.
IT is now ten years since the Burlington Fine Arts
Club, of London, opened (in May, 1877) its celebrated
second exhibition of Rembrandt's etchings, an exhibition
which still holds a place in the memory of all who are
interested in the great master, as a source of pleasure to
those who were fortunate enough to see it, as a source of
regret to those who were denied that advantage. The
aim of this exhibition was twofold : Firstly, to afford to
the visitor an insight into the development of the artist, to
trace his progress step by step from early beginnings to
the culmination of his powers ; secondly, to bring together
the evidence needed to decide the question, to what extent
Rembrandt's own work had been alloyed with that of
others. It is easily seen that the first of these aims could
only be reached by a chronological arrangement of the
etchings executed by or attributed to Rembrandt. At the
same time, the chronological arrangement would aid also
in the attainment of the second aim, for in the sifting-out
process, which must necessarily be one of comparison, a
knowledge of the various stages passed through by the
reputed author of all these works must self-evidently be of
great importance. Mr. Francis Seymour Haden, the well-
known etcher, took the principal part in the arrangement
of the exhibition, as well as in the discussion which ac-
companied it. It was, indeed, his influence which shaped
the exhibition in its essential features, and his theories
regarding the authorship of the etchings in question were
set forth at length in the introduction to the catalogue of
the exhibition. That catalogue, owing to the exclusive
policy of the Burlington Fine Arts Club, is unfortunately
unobtainable, but the introduction was published by Mr.
Haden as a pamphlet, both in English and in French.
143
3513
IV INTRODUCTION.
The present exhibition has been arranged with a view
to furnishing to Rembrandt students in America similar, if
not the same, facilities which were furnished to these stu-
dents in Europe by the London exhibition. But a some-
what difficult question presented itself at the outset. There
are two chronological lists of Rembrandt's work extant,
an older by Mr. C. Vosmaer, the author of " Rembrandt, sa
Vie et ses CEuvres " ; a second, Abased upon the system
adopted at the exhibition of the London club, by Mr.
Charles Henry Middleton, author of "A Descriptive
Catalogue of the Etched Work of Rembrandt Van Rhyn."
Mr. Middleton's list is very precise, assigning each etching
to a distinct year, and thus very inviting as a clean-cut
piece of work, undisturbed by doubt or indecision. Mr.
Vosmaer, on the other hand, often wavers and hesitates to
lay down his opinions as the law ; sometimes, indeed, pre-
fers to have no opinion at all. It was this comparative
modesty which finally commended his list. There is
something repelling in the audacity with which the author
of the " Descriptive Catalogue " assigns each print to its
particular year, and sometimes even undertakes to date the
various states, and, still more incomprehensibly, the
various parts of one and the same plate. Mr. Vosmaer's
reasons for his decisions are, indeed, not always apparent ;
he is clearly in error sometimes, and occasionally he mis-
reads a date, but similar objections may also be urged
against Mr. Middleton. There is, moreover, this to be
said for Mr. Vosmaer, that he leaves the student more
liberty of thought and of action than his English competi-
tor. Finally, by adhering to Mr. Vosmaer's chronology, 1
the exhibition becomes illustrative of his admirable
'As an additional help in fixing the presumable dates of Rem-
brandt's etchings, as well as in deciding the question of authen-
ticity, the monograms, signatures, and figures found on the plates have
not as yet been taken fully into account. If that were the case, Mr.
Vosma;r might, perhaps, have assigned some of the plates differently,
as for instance, " The Bathers," No. 35 of this catalogue, the signature
upon which certainly argues (as does also the work) for the later date.
It is a strange fact that the monograms on Rembrandt's earlier plates
have so far been misinterpreted by all cataloguers. Mr. Blanc prides
himself upon having discovered that many of these monograms read
A'// (Rembrandt Harmenszoon), instead of Rt (Rembrandt), as in-
INTROD UCTION.
book on Rembrandt, or the latter may serve as a text-book
for the exhibition, and this is an advantage not to be
ignored.
As to Mr. Haden's theories concerning the authenticity
of some of the plates attributed to Rembrandt, these can
easily be tested by those desiring to do so by the aid of
this exhibition, as a number of the plates by Van Vliet,
Bol, and Lievens, mentioned by him in his " Monograph,"
are shown in it. How far these theories are sustained by
the test, cannot be discussed here. Mr. Haden himself,
in the prefatory " Note " to his second edition, admits that
he has gone too far, or has at least ventured too much into
detail as to the various etchers possibly involved. But it
is clear that all the work which still goes under Rembrandt's
name cannot be by him, or cannot now be in the condi-
tion in which he himself left it.
The desire to make the exhibition as complete as possi-
ble, to put the visitor in possession of as many as possible
of the facts which he may need to enable him to arrive at
an independent judgment, has led to the admission of a
number of photogravure reproductions, not, indeed, in
themselves very satisfactory, but still valuable as parts of
a whole, where the originals themselves were not attaina-
ble. The proportion which these reproductions bear to
the whole number of prints catalogued is, moreover, com-
paratively small.
The question as to what shape the catalogue should take,
presented another difficulty. No doubt, for popular use,
it would have been desirable to give explanations of the
subjects, and biographical data concerning the persons
represented, and to explain the differences which constitute
terpreted by earlier writers, and accordingly uses in most cases a
combination of these letters, specially cut for his book, in the descrip-
tions which he gives. But the monogram of this shape is of very
rare occurrence on Rembrandt's etchings, the usual form being clearly
a combination of RHL, in script. Dr. W. Bode (" Rembrandt's
friiheste Thatigkeit") was the first to point this out, and to suggest
the interpretation, " Rembrandt Harmenszoon Lugdunensis," an in-
terpretation which is borne out by the fact that this monogram dis-
appears after Rembrandt's removal from Leyden to Amsterdam. In
the present catalogue the monograms and signatures have been care-
fully noted, so far as that can be done without giving fac-similes.
VI INTRODUCTION.
the various " states." But that would have involved the
reprinting bodily of some one of the older catalogues, or
rather the construction of a new one from the materials
furnished by the older, obviously an impossibility for a
variety of reasons, one of which it will be sufficient to state,
to wit, the bulk and expense of such a catalogue. It was
thought best, therefore, to give only such facts as are
needed for an easy identification of each print, and the
reference to the principal among the more extended cata-
logues. To these facts have only been added a few notes
directing attention to the theories advanced touching the
authenticity of some of the plates ; correcting obvious mis-
takes and supplying omissions in the recognized cata-
logues ; and occasionally expressing an opinion calculated
to call upon the visitor to exercise his own independent
judgment. For, in truth, the exercise of such judgment is
sadly needed in this matter, which has been densely ob-
scured by tradition and untrustworthy " authority." As it
stands, the present pamphlet is a Complete Short Catalogue
of the Etched Work of Rembrandt, according to Blanc and
Vosmaer, even those pieces having been enumerated in it
which could not be shown, but which are mentioned by the
writers named.
In the attempt to establish the " states " of the prints
exhibited, Mr. Middleton has generally been followed,
although he has been accused of unnecessarily multiplying
states, and his book has been generally condemned (by
Mr. Haden) as "disingenuous and unreliable." It, never-
theless, contains much that is not to be found in the older
books, and is pretty closely adhered to, with occasional
divergences, by Mr. Dutuit, in his luxurious Rembrandt
catalogue, which is the latest work upon the subject. The
tendency to unnecessarily multiply states is common to all
catalogue makers, and the evils growing out of it are occa-
sionally referred to in the notes in this catalogue. It must
be acknowledged that the question of " states " is a difficult
one, and yet a necessary evil, so long as prints are objects
of commerce, and therefore of money value, and so long as
the " connoisseur " of the ordinary kind is more of a curi-
osity hunter than an intelligent appreciator of art. It is to
be hoped that in the good time coming, trial proofs will
INTRODUCTTON. Vll
no longer be described as states, and press scratches and
differences in printing will be recognized for what they
are. Until then will it be in vain to look for really intelli-
gible descriptions and for the absence of contradiction
among the cataloguers, and until then, also, the ideal Rem-
brandt catalogue will have to remain unwritten.
It would seem almost as if, with the facilities for study
and comparison now offered to the student, the advance
must be rapid, and the settling of disputed questions could
not be difficult. Books like those of Blanc and of Dutuit,
and the reproductions by Amand-Durand (unfortunately
not available in the preparation of this exhibition), are
undoubtedly valuable, but for detailed study they are,
nevertheless, unreliable. The photogravures in Blanc's
book may, perhaps, claim to be reliable as far as they go,
as they have been left unretouched, but for that very reason
they are often uncouth to look at, and sin by omission.
Besides, the process used, involving biting with acid (as
far as known), is naturally liable to produce unlooked-for
effects, and rudeness of line where it may be out of place.
Such plates, on the other hand, as those in Dutuit's book,
are more attractive to the eye, having been retouched.
This, however, makes them still more unreliable (see No.
83, note, of this catalogue), and when it comes to the imi-
tation of dry-point by roulette work, the distortion is com-
plete. For the illustrated catalogue of the future, there-
fore, with purely practical aims, photogravure seems out of
the question, and the simple photograph, at its best, much
to be preferred. This catalogue of the future, further-
more, will have to aim at the reproduction of nothing
but first states (not trial proofs, however), in contradis-
tinction from Blanc's and even from Dutuit's catalogue,
which in most cases reproduce late, and sometimes very
late states.
The mention of states naturally enough brings up the
inquiry as to the quality of the present exhibition. It may
be admitted at the outset that it cannot rival the London
exhibition in Hundred Guilders in the First State (see Mr.
Haden's "Monograph," pp. 2 and 3), or Rembrandts with
the Sabre ; that there are in it no Tholinxs (except in
reproduction); no Buenos with the Black Ring (but a fine
VIH INTRODUCTION.
one with the white ring, see No. 244); no Old Harings and
Turned-up Hats and Embroidered Mantles with " inesti-
mable dates and griffonnements" only the impressions
usually met with, and many of them in late states. But
there are in it, nevertheless, some fine impressions, and as
to the states, it must be recollected that in some cases the
earlier so-called states are really trial proofs, and that in
many others they are almost unprocurable, so that, as has
already been mentioned, even Blanc and Dutuit have had
to content themselves with reproducing later states, and
occasionally states later than those shown in this exhibi-
tion.
To students of various stages of progress and of various
aims, the material offered to increase their knowledge is
ample. Those curious about states, and the distinctions
which constitute them, will find what they seek in Nos. 69,
83,92, 102, 105, 107, 158, 163, 182, 209,248, 251,269,
276, 284, 285, 299, etc. ; proof and counterproof may be
compared in Nos. 86 and 225 ; the difference between
an impression " showing plenty of bur," and another with
the bur all gone, is especially well seen in No. 280 ; the
deterioration of a plate by wearing may be observed in
such examples as Nos. 114, 243, and 269. For technical
study, nothing more attractive and instructive, and at the
same time more difficult and puzzling, can be conceived
of than an exhibition of Rembrandt's work. Never was
there an artist better skilled, more audacious, and more
successful in the use of all the means of which he had
knowledge. Needle and acid, the dry-point, the graver,
and the tricks of printing (except the modern device of
retroussage) he used separately or in combination as he
listed, and always with an harmonious and felicitous result.
Even the graver (which, however, to speak quite correctly,
he never used separately, but only for emphasizing and
finishing), he handled with an unconventional freedom that
made it match perfectly the unconcern of the point. (See
some remarks on the use of this instrument by his followers
under Nos. 454 and 464.) As examples of pure etching
Nos. 2 10 and 260 may be pointed out ; pure dry-point work is
seen in Nos. 165, 277, 299, 300, and probably also in No.
243 ; the combination of etched work and dry-point is
INTRODUCTION. IX
exemplified in such widely differing works as Nos. 263 and
269 ; in the production of No. 167 the graver has evi-
dently had a share, together with the other means familiar
to the artist. But when it comes to such elaborate work
as No. 253, what shall we say? Did the acid do any of
the work ? Or is it dry-point throughout, strengthened
here and there by the graver ? Of the artifices in printing,
the exhibition shows nothing, except in Nos. 318 and (in a
manner too obvious to be attributable to Rembrandt him-
self) 103. To see some of the finest effects attained by
the artist by these means, American students are compelled,
for the present, to go to the collection of Mr. Theodore
Irwin, of Oswego, N. Y.
The main interest of the exhibition for the larger public
will be found, however, and quite legitimately, in
its autobiographical character. Rembrandt was born at
Leyden on July 15, 1607 ; he was buried Oct. 8, 1669, in
the Westerkerk at Amsterdam. The earliest date upon his
etchings is 1628, before he left Leyden; the last date found
on his plates is 1661. All his etched work embraced
within these dates is here, and the record is extended even
further by the engravings, etc., executed from his paintings
and sketches, which carry us from 1627, the earliest known
date upon any painting by him, to within one year of his
death. A survey of the exhibition makes it clearer than
any amount of reading could do it, that Rembrandt was
indeed the first artist who may truly be called modern.
For not only is he a realist of the realists, but what makes
him still more modern is his intense subjectivity.
It would be impossible, indeed, to bring together such
another exhibition, from the hands of another artist, offer-
ing a similar personal interest. Like the pages of an
autobiography, it lays bare to the attentive visitor every
step forward, every transformation of fortune, even the
varying moods of him who left it behind. Some of the
entries, no doubt, are enigmas ; others are evidently fraud-
ulent interpolations, but enough of it is clear and intel-
ligible, and authoritative beyond questioning, to tell the
story. And it is essentially a sad story, however instruc-
tive, showing how even he, the great manipulator, began
timidly with the brush as well as with the point, not
IN TROD UCTION.
forgetting here the superb little portrait of his mother
(No. 4) which stands at the beginning as a prefiguration
of what was to come after, and how the freedom of his
later years was the outcome only of the practice that went
before, exhibiting him to us in the pride and triumph of
his youth, fond of show, ready to avail himself of the help
of others, rejoicing in the possession of Saskia, whose
radiant face smiles ever and anon upon us out of his work,
and then overwhelmed by misfortune, growing more sullen,
more sombre, more audacious, but still a giant in concep-
tion, and untiring of work, showing us, too, the place once
occupied by Saskia filled by the coarse woman who seems
to have been the companion of his later days, until we lose
sight of him altogether, and the light is quenched in dark-
ness. (See, however, Vosmaer, pp. 358 and 372.)
It remains to give thanks to those who have made this
exhibition possible, first of all to Mr. Henry F. Sewall, of
New York, from whose rich collection the richest in
Rembrandts, and the most complete, historically, of all the
private collections of the United States by far the larger
part of the prints shown has been drawn. Acknowledg-
ments for assistance given are due also to Dr. H. C.
Ahlborn, of Boston, and Messrs. H. Wunderlich & Co.,
of New York (for the loan of Blanc's and Dutuit's works,
neither, of which, unfortunately, is owned by the Museum),
to Mr. Chas. Henry Hart, of Philadelphia, to Mr. Edward
W. Hooper, of Cambridge, Mass., and to Mr. Edward
Robinson, of Boston.
The painting, " Danae and Jupiter " (?), kindly lent by
Mr. Francis Brooks, forms an interesting supplement to
the exhibition. It is mentioned in no list of Rembrandt's
works, and Mr. Vosmaer says: "I know of no painting
bearing the date of 1652." That is precisely the date upon
the canvas here shown. In its wealth of coloring it vividly
recalls the words used by Mr. Vosmaer in describing another
picture by Rembrandt, " The Toilet of Bathseba," dated
1643 : " T ne harmony of the tints and of the general tone
is of great beauty. A color of bronze or of gold, inter-
woven with shades of violet, of brown, of green, and of
yellow ochre, envelops the whole in a scale at once warm,
poetical and mysterious." It appears to best advantage
INTRODUCTION. XI
in a strong light, thus bearing out Rembrandt's instructions
concerning another of his works. " Hang this picture in
a very strong light," he writes to Constantin Huijgens,
under date of January 27, 1639, "and so that it can be
seen at a distance. It will do best that way." The two
copies of portraits form part of the collections of the
Boston Athenaeum, deposited with the Museum of Fine
Arts.
S. R. KOEHLER,
Curator of the Print Dept.
As a text-book for the exhibition, Vosmaer's Rembrandt,
sa Vie et ses (Euvres, 2d ed., The Hague : 1877, is rec-
ommended.
Mr. Haden's theories will be found in The Etched Work
of Rembrandt. A Monograph, new ed., London : 1879.
The catalogues referred to in this catalogue are :
Blanc, Charles, L'CEuvrede Rembrandt, i vol. and plates,
Paris : 1880.
Bartsch, Adam, Catalogue Raisonnd de toutes les Estampe s
qui forment Fauvre de Rembrandt, etc. 2 vols., Vienna:
1797.
[Wilson, Thomas,] A Descriptive Catalogue of the Prints
of Rembrandt. By an Amateur. London: 1836.
Middleton, Charles Henry, A Descriptive Catalogue of
the Etched Work of Rembrandt Van Rhyn. London :
1878.
Dutuit, Eugene, Z' CEuvre Complet de Rembrandt. 2 vols.,
supplement, and plates, Paris: 1883.
Claussin, Le Chevalier de, Catalogue Raisonnt de toutes les
Estampe qui forment Vceuvre de Rembrandt, etc., Paris : 1824.
Supplement. Paris : 1828. (The supplement is referred
to for the work of the artists belonging to Rembrandt's
circle.)
For a short general account of etching in Holland un-
der Rembrandt's influence, see S. R. Koehlerj Etching
(Chapter VI), New York : 1885.
Xli INTRODUCTION.
To find in this exhibition any etching by Rembrandt,
according to the numbers of Blanc, Bartsch, Wilson, Mid-
dleton or Dutuit, refer to the " Finding List " on p. 81.
The " Visitor's Guides," placed upon the stands in the
First and Second Print Rooms, will be found convenient
whenever it is desired to locate a special number in this
catalogue in the cases.
The abbreviations used in the following pages hardly
need an explanation : B. stands for Bartsch ; Bl. for
Blanc ; Cl. for Claussin ; Du. for Dutuit ; M. for Middle-
ton ; R. for Rembrandt ; V. for Vosmaer ; W. for Wilson.
Right and left, when speaking of prints, are always un-
derstood as relating to the reader ; that is to say, right
means that part of the print at his right hand, etc.
CONTENTS.
PAGE
Introduction iii
Rembrandt's Etchings, arranged in chronological order
according to C. V&smxr's list (Nos. i to
319) i
Pieces not classified by Vosmasr (Nos. 320 to 339) . 59
Pieces rejected or omitted by Vosmaer (Nos. 340 to
361) 61
Etchings, Engravings, etc., executed from paintings and
sketches by Rembrandt, arranged in chronological
order (Nos. 362-425) 64
Etchings executed by artists belonging to Rembrandt's
circle :
Pieter Lastman (No. 426) 73
Salomon Savry (Nos. 427 and 428) ... 73
Salomon Koninck (No. 429) 74
M. Roddermondt (Nos. 430 and 431) . . . 74
J. J. Van Vliet (Nos. 432 to 436) .... 75
Ferdinand Bol (Nos. 437 to 449) .... 76
Jan Lievens (Nos. 450 to 468) .... 77
Oil Paintings (Nos. 469 to 471) 80
Finding List 81
FIRST PRINT ROOM.
REMBRANDT'S ETCHINGS,
ARRANGED IN CHRONOLOGICAL ORDER ACCORDING
TO C. VOSMAER'S LIST.
1. St. Jerome in Meditation. Bl 77; B 149; W
147; M 176; Du 145. Assigned to before 1628 by V.,
to 1629 by M.
One state only. Shown in photogravure. From /.'s jR.
In his list V. places this print in the year 1629, but in the text of his
" Rembrandt " (2d ed., p. 87) he gives it as his opinion that it and the
following piece are anterior to the etchings of 1628.
2. St. Jerome on his Knees. B 106 ; W m; M
175. Assigned to before 1628 by V., to 1629 by M.
One state only. Not procurable.
See remarks under No. i.
3. Rembrandt's Mother. Bl 192 ; B 352 ; W 347 ;
M 6 ; Du 340. Monogram RHL. Dated 1628.
Two states ; 2d state shown. Sewall Coll.
Two impressions are exhibited, the upper washed with India ink in
the shadows. Most of the old women etched by R. are said to repre-
sent his mother, although there are certain considerations which argue
against the assumption. The woman here represented must be from
seventy to seventy -five years of age, and as R. was twenty-one years old in
1628, she must have been, taking it for granted that she was his mother,
from fifty-one to fifty-four at the time of his birth and still older, of
course, at the time of the birth of his younger sister Lijsbeth, which
would certainly be phenomenal. It is said, moreover, that R.'s mother
FIJIST PRINT ROOM.
was about seventy at the time of her death in 1640 (Vosmaer, ad ed.,
p. 202). It follows that in 1628 she was only about fifty-eight years
old, which is altogether too young for the woman here represented.
" R.'s Grandmother" would therefore be a more fitting title. His
father's mother, who died in the year 1600, being out of the question,
there remains only the conjecture that the woman represented may be
his grandmother on the maternal side, Lijsbeth Cornelisdr.
4. Rembrandt's Mother. Bl 193 ; B 354 ; W 348 ;
M 5 ; Du 341. Monogram RHL. Dated 1628.
Two states ; 2d state shown. Sewall Coll.
This magnificent little portrait which stands at the very threshhold
of R.'s career as an etcher, adds an artistic enigma to the chronological
riddle alluded to under No. 3. The woman represented might possibly
be R.'s mother, but how is this etching, complete artistically and tech-
nically, to be reconciled with much of the later work which goes under
the artist's name, such for instance as the heads No. 62 and'No. 87?
It seems impossible that the artist who did No. 3 should have done
also, some years later, No. 62, No. 87 and their congeners.
5. Head of a Woman. Bl 252 ; B 375 ; W 369 ;
M 3 ; Du 363. Assigned to 1628 by V. and by M.
One state only. Shown in photogravure. From Bl?s R.
V. believes this also to be a portrait of R.'s mother, and a study for
No. 4.
6. The Presentation, with the Angel. Bl 24 ;
51; Ws6; Mi 78; Du 56. Monogram RHL (the hori-
zontal bar of the H omitted). Dated 1630.
Two states (?) ; 2d state shown. Sewall Coll.
M. describes only two states. An impression of a later state, not
described, is in the Gray Collection.
7. The Circumcision. (Small, upright.) Bl 21;
B 48 ; W 53 ; M 179 ; Du 53. Assigned to 1630 by V.
and by M.
One state only. Sewall Coll.
8. Jesus Disputing with the Doctors. (Small,
upright.) Bl 37 ; B 66; W 70; M 177; Du 69. The
monogram and the date, 1630, in ist and 2d states.
Three states ; 3d state shown. Sewall Coll.
REMBRANDT^S ETCHINGS.
g. Two Beggars, Man and Woman, coming
from behind a bank. Bl 129; B 165; W 162; M 10;
Du 161. Monogram in earlier states. Assigned to 1630
by V., to 1629 by M.
Seven states ; 7th state shown. Sewall Coll.
10. Two Beggars, Man and Woman, conversing.
Bl 128; B 164; W 161 ; M 37; Du 160. Monogram
RHL. Dated 1630.
Two states ; 2d state shown. Sewall Coll.
n. A Beggar, standing. Bl 133; B 169; W 166;
M 80; Du 165. Marked RH IN, the letters of the
name joined, but not in R.'s usual style. Assigned to
" early period " by V., to 1631 by M.
One state only. Shown in photogravure. From BIS sR.
M. is inclined to doubt this piece. According to him, it bears the
monogram only, and he thinks there may be two states.
12. A Beggar, sitting on a hillock. Bl 136; B 174;
W 171; M 34; Du 170. Monogram RHL. Dated
1630.
One state only ? Sewall Coll.
13. Man Standing. Bl 155; B 190; W 187 ; M
255; Du 187. Monogram RHL. Dated 1630.
One state only. Not shoivn.
14. Bust of a Man, with broad-brimmed hat and
ruff. Bl 260; B 311 ; W 312 ; M 28 ; Du 307. Mono-
gram RHL (crossbar wanting). Dated 1630.
One state only ? Sewall Coll.
There are impressions with and without monogram and date, these
latter probably wiped out or covered up before the impressions were
taken. The impression shown is of the second kind.
15. Bust of a Man, looking from behind a wall.
Bl 265 ; B 304 ; W 304 ; M 38 ; Du 300. The 2d and 3d
states have the monogram and are dated 1630.
Five states ; two shown :
(a.) ist state shown in photogravure. From jB/.'s R.
(b.) 4th state. Sewall Coll.
FIRST PRINT ROOM.
M.'s description of the 1st state does not seem to be quite correct.
According to him, the work on the 3d and later states is not by R.
1 6. Old Man Sitting, wearing a high cap (Philon,
the Jew). Bl 266; B 321 ; W 319; M 36; Du 314.
Monogram RHL (without the crossbar in the H).
Dated 1630.
Three states ; 2d state shown. Sewall Coll.
17. Bald Headed Man, in profile, with a jewelled
chain. Bl 272; B 292; W 294; M 39; Du 289. In
2d and 3d states, monogram RHL, and date, 1630.
Three states ; 3d state shown. Sewall Coll.
18. Same as No. 17, Reversed. Bl 273 ; B 293 ;
W 308; M 41; Du 290. Assigned to 1630 by V. and
by M.
Two states; photogr. of ist state shown. From Bl?s R.
19. Same Head as No. 17, Smaller. Bl 27456
294; W 295; M 40; Du 291. Monogram Rt. Dated
1630.
One state only. Sewall Coll.
20. An Old Man, with large beard, the shoulders
rising above the ears. Bl 282 ; B 325 ; W 323 ; M 30 ;
Du 318. Monogram RHL. Dated 1630.
One state only. Sewall Coll.
There are impressions in which the monogram and date have been
suppressed.
21. An Old Man, with large beard, the shoulders
lower than the ears. Bl 283 ; B 309 ; W 310 ; M 31 ; Du
305. Monogram RHL. Dated 1630.
One state only. Sewall Coll.
22. An Old Man with large beard, the right shoulder
left white. Bl 285 ; B 291 ; W 293 ; M 29 ; Du 288.
Assigned to 1630 by V. and by M.
One state only. Sewall ColL
REMBRANDT'S ETCHINGS.
23. Rembrandt, with fur cap and light dress.
B1226; 624; W24;M27; Du 24. Monogram. Dated
1630.
Five states ; 4th (or 5th ?) state shown. Sewall Coll.
Monogram and date only partly visible in the impression shown.
24. Rembrandt, grimacing. 61214; B 10; W 10;
M 23 ; Du 10. Monogram and date, 1630, in ist state.
Three states ; two shown :
(a.) 2d state. Cut down. Sewall Coll.
(.) 3d state. Washed with India ink in the head.
Sewall Coll.
25. Rembrandt, with bushy hair and small white
collar. B1204; B i; W i; M 51; Du i. Monogram
RHL (without the crossbar). Assigned to 1630 by V.,
to 1631 by M.
Two states; 2d state shown. Sewall Coll.
26. Rembrandt, with haggard eyes. Bl 217; B
320 ; W 33 ; M 24 ; Du 33. Monogram RHL, and date,
hardly legible, but generally read 1630.
One state only. Sewall Coll.
27. Rembrandt, laughing. Bl2i8; B 316; W 29;
M 25 ; Du 29. Monogram RHL. Dated 1630.
Three states ; 3d state shown. Sewall Coll.
M. thinks that the retouches which the 3d state shows are not by R.
Mr. Haden ("Monograph," p. 14) speaks of a "distorted 2d state" by
Van Vliet.
28. Rembrandt, with open mouth. Bl 219; B 13;
W 13 ; M 22 ; Du 13. Monogram. Dated 1630.
Two states ; 2d state shown. Sewall Coll.
In the 2d state part of the monogram is lost by the reduction of the
plate. Only faint traces of it and of the date are visible in the impres-
sion shown.
FIRST PRINT ROOM.
29. Rembrandt, with a broad nose. Bl 208 ; B 4 ;
W 4 ; M 42 ; Du 4. Assigned to 1630 by V., to 1631
by M.
Two states ; photogr. of 2d state shown. From BL's R.
30. Rembrandt, stooping. Bl 209 ; B 5 ; W 5 ; M
19 ; Du 5. Assigned to 1630 by V. and by M.
Three states ; photogr. of 3d state shown. From Bl.'sR.
31. Rembrandt, with curly hair, tufted. Bl 205;
B 27 ; W 27 ; M 26 ; Du 27. Assigned to the earliest
period by V. ; according to M., the monogram and the
date 1630 can with difficulty be read in the lower margin.
One state only. Shown in photogravure. From Bl.'s R.
32. Diana Bathing. Bl 165; B 201; W 198;
M 258 ; Du 198. Monogram RHL. ft. Assigned to
1631 by V. and by M.
One state only. Sewall Coll.
33. Danae and Jupiter. Bl. 168; B 204; W 201 ;
M 259; Du 201. Monogram RHL. Assigned to 1631
by V. and by M.
Two states ; 2d state shown. Sewall Coll.
34. A Beggar, without beard, in a large cloak. Bl
114; B 150 ; W 148 ; M 71 ; Du 146. Monogram RHL
(shape of the letters quite different from that usually
employed) . Dated 1631.
Five states ; 4th state shown. Sewall Coll.
The changes in the later states, M. thinks, are not due to R.
35. The Bathers. Bl 1 17 ; B 195 ; W 192 ; M 292 ;
Du 192. Signed Rembrandt./. Dated 1631 ?
Two states ; ist state shown. Sewall Col!.
There are some scratches in the figure 3 of the date, which M. thinks
constitute a correction of the year to 1651. The work and the signa-
ture both certainly seem to show the character of R.'s later years.
REMBRANDT'S ETCHINGS.
36. The Blind Fiddler. Bl 91; B 138; W 138;
M 78; Du 136. Monogram RHL. Dated 1631.
Three states ; 3d state shown. Sewall Coll.
According to M., the shading which characterizes the last state was
not executed by R.
37. The Little Polander. Bl 108 ; B 142 ; W
142; M 79; Du 140. Monogram RHL (without the
crossbar). Dated 1631.
One state only. Shown in photogravure. From Bl.'s R.
38. The Dumb Beggar. (Lazarus Klap ; de Lazar-
usklap; the Leper.) Bl 138; B 171 ; W 168; M 72;
Du 167. Monogram RH (somewhat different from the
usual form). Dated 1631.
Six states; 3d state shown in photogravure. From Bl.'s R.
39. Woman Crouching. Bl 156 ; B 191 ; W 188 ;
M 257; Du 188. Monogram RHL. Dated 1631.
Two states. Not shown.
40. A Beggar in a ragged cloak. Bl 131; B 167;
W 164; M 70 ; Du 163. Monogram RHL. Dated 1631.
Three states ; 26. state shown. Sewall Coll.
Generally said to be " in the manner of Callot," without much
warrant.
41. A Beggar with a crippled hand. Bl 130; B
166; W 163; M 74; Du 162. Assigned to 1631 by V.
and by M.
Three states ? 2d state (?) shown in photogr. From Bl?s R.
This, like No. 40, is also said to be " in the manner of Callot." M.
describes three, Du. four states. The impression shown seems to repro-
duce Du.'s 4th state.
42. A Beggar Woman, with a leather bottle.
Bl 132 ; B 168; W 165; M 75 ; Du 164. Assigned to
1631 by V. and by M.
Two states ; 2d state shown. Sewall Coll.
M. thinks this piece "somewhat doubtful."
8 FIRST PRINT ROOM.
43. Two Venetian Figures. Bl 119; B 154;
W 151; M 73; Du 150. Monogram apparently Rt.
Assigned to 1631 by V. and by M.
Two states ; photogr. of 2d state shown. From BISs R.
It is difficult to say why these figures should be called " Venetian,"
unless for the reason that the cap of one of them resembles the cap of
the Doges.
44. A Peasant with his hands behind him. Bl 103 ;
B 135 ; W 136 ; M 89 ; Du 134. Monogram RHL.
Dated 1631.
Four states ; 4th state shown. Sewall Coll.
Mr. Haden (see " Monograph," p. 15) speaks of this plate as a " vile "
copy by Van Vliet.
45. Bust of a Bald Man, leaning forward, mouth
open. Bl 275; B298;W298; M 56 ; Du 294. RHL.
Dated 1631.
Three states ; 3d state shown. Sewall Coll.
"Very doubtful," according to V. M. thinks that after the ist state
the plate was worked upon by othert.
46. Bust of a Bald Man, with large nose. Bl 276 ;
B 324 ; W 322 ; M 57 ; Du 317. Monogram apparently
RH. Dated 1631.
Three states ; 2d state shown. Gray Coll.
47. An Old Woman, wearing a dark head dress with
lappets. Bl 245; B 355; W 349; M 67 ; Du 343--
Monogram'RH. Dated 1631.
M. describes three, BL, four states, but the descriptions
do not indicate all the changes the plate has undergone.
(a.) Bl.'s 4th state, in photogravure. From Bl.'s R.
(t>.) Seems to be M.'s 3d state, but is evidently later
than Bl.'s 4th. Sewall Coll.
(c.) Shows some little additional work, and would,
therefore, constitute a still later state. Sewall Coll.
REMBRANDT'S ETCHINGS.
One of the earlier states, with considerably less work upon it,
especially in the hood, is reproduced in Dutuit's book. The later
retouches are supposed to be not by R. The example of this plate may
serve to show the often unimportant character of the distinctions which
mark " states."
48. Bust of an Old Man, with a long beard. Bl
281 ; B 260; W 261 ; M 62 ; Du 276. Monogram RHL.
ist state dated 1631.
Two states ; 2d state shown. Chas. Henry Hart.
49. Bust of a Man, in profile, bearded, wearing a
cap. Bl 298 ; 6317; W3I7; M 69 ; Du 312. Mono-
gram RH. Dated 1631.
One state only. Shown in photogravure. From JBl.'s R.
" Very doubtful," according to M.
50. An Old Man, with large beard. Bl 284; 6315 ;
W3i6; M63; Du3ii. Monogram^?ZTZ. Dated 1631.
Two states ; 2d state shown. Sewall Coll.
51. A Man with a Short Beard, fur cap, and
embroidered cloak. 61267; B 263; W 265; M 77; Du
279. Monogram RHL. Dated 1631.
Four states ; 4th state shown. Sewall Coll.
52. Bust of an Elderly Man, with a cap and robe of
fur. Bl 264 ; B 307 ; W 307 ; M 58 ; Du 303. Mono-
gram RH. Dated 1631.
Three states ; 3d (?) state shown. Sewall Coll.
The third state is coarsely reworked.
53. A Beggar, sitting in a chair. Bl 124; B 160 ;
W 157 ; M 76 ; Du 156. Assigned to 1631 by V. and by
M.
One state only. Shown in photogravure. From Bl.'s R.
There is something strongly suggestive of Diirer in the whole con-
ception of this figure.
10 FIRST PRINT ROOM.
54. A Beggar, seated, with a dog by his side. Bl
139 ; B 175 ; W 172 ; M 65 ; Du 171. Monogram appar-
ently Rt. Dated 1631.
One state only. Shown in photogravure. From l.'s R.
The head seems to be that of the model who sat also for the " St.
Paul in Prison," an early picture by R., dated 1627. See the etching
by Baldinger, "Zeitschrift fiir bildende Kunst," 1874, reproduced in
Bode, " R.'s fruheste Thatigkeit," No. 362 of this catalogue.
55. Bust of an Old Man, in a high fur cap. Bl
302 ; B 299 ; W 299 ; M 118 ; Du 295. Assigned to 1631
by V., to 1635 by M.
One state only. Sewall Coll.
56. Rembrandt's Mother, in a black dress. Bl
195; B 349; W 344; M 53 ; Du 337. Monogram RHL
(the crossbar of the H omitted). Dated 1631.
Two states; ist (?) state shown. Sewall Coll,
M. supposes the age of the woman represented to be 63 or 65 years,
which seems too young. See the remarks under No. 3.
57. Rembrandt's Mother, with a black veil. Bl
196 ; B 343 ; W 339 ; M 54 ; Du 332. Monogram RHL.
Jt. Assigned to 1631 by V. and by M.
Four states ; 2d state shown. Sewall Coll.
58. Rembrandt's Mother, wearing a lace cap. Bl
198 ; B 348 ; W 343 ; M 55 ; Du 336. Monogram RHL.
Dated 1631.
Three states; 3d state shown. Sewall Coll.
59. Rembrandt, with broad hat and embroidered
mantle. Bl 211; 67; W 7 ; M 52 ; Du 7. In 5th
state monogram RHL and date 1631 ; in 8th state, Rem-
brandt f.
Nine states ; 8th state shown. Sewall Coll.
M. considers the plate in its later states to have been worked upon
by other hands than those of R. The age of the person represented
again inspires doubt. In 1631 R. was twenty-four. This youth, de-
spite the down about the mouth, looks hardly more than eighteen or
twenty at the utmost. The curious may find Mr. Haden's opinion
of this plate, " Monograph," pp. 3 and 23.
REMBRANDT'S ETCHINGS. II
60. Rembrandt, with a fur cap. Bl 223; B 16 ; W
16; M 45 ; Du 16. Monogram RHL. Dated 1631.
Two states ; ist state shown. Sewall Coll.
61. Rembrandt, with squinting eyes and bushy hair.
Bl 220; B 25 ; W 25 ; M 49 ; Du 25. Monogram and
date, 1631, in ist and 2d states.
Three states ; photogr. of 3d state shown. From BISs R.
Only the ist state, according to M., is entirely by R.
62. Rembrandt, with fur cape. Bl 222 ; B 15 ; W
15 ; M 48 ; Du 15. Monogram RHL. Dated 1631.
Four states ; two shown :
(a.) ist state ; in photogravure. From Bl.'s R.
(.) 4th state. Sewall Coll.
According to M., the changes after the 2d state are not due to R.'s
hand. According to Mr. Haden, the plate is a "vile "copy by Van
Vliet. (See " Monograph," p. 15.)
63. Rembrandt, with fur cap of unequal height.
Bl 225; B 14; W 14; M 44 ; Du 14. Monogram RH.
Dated 1631.
Two states ; 2d state shown. Gray Coll.
Reworked in the 2d state, according to M., by other hands than R.'s.
64. Sketches, with a so-called Head of Rembrandt.
Bl 238 ; B 370 ; W 364 ; M 82 ; Du 358. Monogram
Rt. Date read 1631 by V. and by M., 1651 by others.
One state only. Shown in photogravure. From BISs R.
If 1631 is the correct date, the head cannot be R.'s. The work, so
far as a reproduction admits of judgment, certainly looks more like that
of a later period. M. would have it that part of it is of earlier, part
of later date.
65. Rembrandt, with very small black eyes. Bl
213; Bg; W 9 ; M 21 ; Du 9. Assigned to 1631 by V.,
to 1630 by M.
One state only. Shown in photogravure. From Bl?s R.
12 FIRST PRINT ROOM.
66. Rembrandt, in an oval. Bl 215 ; B 12 ; W 12 ;
M 16 ; Du 12. Assigned to 1631 by V., to 1630 by M.
Two states; 2d state shown in photogr. From Blls R.
67. Rembrandt, in an octagon. Bl 221; B 336;
W 31 ; M. 20; Du 31. Monogram RH. Assigned to
1631 by V., to 1630 by M.
One state only. Shown in photogravure. From BL's R.
68. Rembrandt, with a soft round cap. (" R. aux trois
crocs.") Bl 224; B 319; W 28; M 47; Du 28. As-
signed to 1631 by V. and by M.
Five states ; two shown :
(.) 3d state in photogravure. From Bl.'s R.
(t>.) 4th state. Sewall Coll.
Worked upon by some other artist, in M.'s opinion, in the 4th state
and perhaps also in the 3d. Mr. Haden speaks of a " distorted 2d
state " by Van Vliet.
69. The Resurrection of Lazarus. Large. Bl
48 ; B 73 ; W 77 ; M 188 ; Du 79. Marked : RHL (in
monogram) v. Ryn. f. Assigned to 1632 by V., to 1633
by M.
Nine states, according to M; eleven, according to Bl.
Three shown :
(a.) 2d state in photogravure. From Bl.'s R.
(.) 8th state. Sewall Coll.
(^.) gth state (of M. ; nth of Blanc?). Sewall Coll.
M. is of opinion " that this piece is to a large extent the work of Van
Vliet." Mr. Haden professes (" Monograph," p. 25) " a general dis-
trust of the plate," but hesitates "to pronounce upon it," as to its prob-
able author. In his opinion, also, " the ordonnance of the plate " is
not R.'s. For similarity in composition, compare the drawing in the
British Museum, dated 1630, reproduced in Bode, " R.'s friiheste
Thatigkeit," No. 367 of this catalogue.
70. The Body of Jesus carried to the Tomb.
Bl 60 ; B 84 ; W 89 ; M 2i 7 ; Du 92. Signed : Rembrant
(d omitted). Assigned to 1632 by V., to 1645 by M.
One state only. Sewall Coll.
REMBRANDT'S ETCHINGS. 13
71. St. Jerome Praying. Bl 72 ; B 101 ; W 106;
M 183; Du 104. Signed: Rembrant. ft. (d omitted).
Dated 1632.
Three states ; 3d state shown. Sewall Coll.
72. The Ratkiller. Bl 95 ; B 121 ; W 125 ; M 261 ;
Du 122. Monogram RHL. Dated 1632.
Two states ; 2d state shown. Sewall Coll.
73. The Ratkiller. Bl 96; Bi22;Wi26; M 260
Du 123. Assigned to 1632 by V. and by M.
One state only. Shown in photogravure. From Bl?s R.
Called a study for No. 72. Ruined in the biting and abandoned.
74. The Persian. Bl 105; B 152; W 150; M 91;
Du 148. Monogram RHL. Dated 1632.
Two states ; 2d state shown. Sewall Coll.
75. A Man on Horseback. Bl 106; B 139; W
139; M 4; Du 137. Monogram apparently RH,
reversed. Assigned to between 1630 and 1634 by V., to
1628, among the first attempts of R., by M.
Two states; 2d state shown. Sewall Coll.
76. Head of an Old Woman. Bl 246 ; B 360; W
354; Du 348. Monogram RH. Assigned to 1632 by
V., rejected by M.
Two states described by W. ; 2cl state shown in photogr.
From Bl.'s R.
77. Portrait of Coppenol, the Calligrapher. (The
Little Coppenol.) Bl 174; B 282 ; W 284; M 162 ; Du
257. Assigned to about 1632 by V., to 1651 by M.
Six states ; 3d state shown. Sewall Coll.
V. assigns this plate to about 1632, not only on the evidence of the
style of the work, " la gravure," but also on that of the age of the sit-
ter. As Coppenol was born in 1598, he was thirty-four years of age in
1632. He certainly looks much older in this portrait. Compare No.
3I9-
14 FlitS T PRINT ROOM.
78. A Cottage with White Pales. Bl 332 ; B
232; W229; M3o8; Du 229. Signed Rembrandt. f.\ 2d
state dated 1632, according to V., 1642, according to M.
Two states; 2d state shown. Sewall Coll.
On the impression shown the date, hardly visible, looks more like
1642 than 1632. It has hardly any value, however, as it is evidently a
later addition, probably by another hand. Moreover, the date 1642
would place this plate, which is probably the tamest of all of R.'s
landscapes, into the same year with " The Three Trees," and later than
much of his far more vigorous work of the same kind.
79. The Flight into Egypt. Bl 25 ; 652; W 57 ;
M 184; Du 57. Signed: Rembrandt inventor et fecit.
Dated 1633.
Two states; ist state shown (late impression ?).
Sewall Coll.
"A very doubtful piece," according to M. According to Mr.
Haden, it is probably by Bol, from a design by Lastman.
80. The Good Samaritan. Bl 41 ; B 90; W 95;
M 185; Du 75. In 5th state: Rembrandt inventor et
fecit. Dated 1633.
Five states ; two shown :
(a,) 2d state, in photogravure. From Bl.'s R.
(.) 5th state. Gray Coll.
According to M., this plate was executed partly by some pupil of R.,
as was also the additional work in the later states. Mr. Haden
(" Monograph," p. 26) thinks it entirely the work of a pupil, possibly
Bol. Bl., although controverting Mr. Haden's opinion, likewise, in
accord with others, puts a low estimate upon the plate. Longhi, the
celebrated engraver, on the other hand, in his book on engraving,
declares it to be his favorite among R.'s etchings.
81. The Descent from the Cross. Large plate.
Bl 56 ; B 8 1 ; W 83 ; M 186 ; Du 88. Signed : Remlrant.
ft. (^omitted). Dated 1633.
Plate spoiled in the biting. Fragment only shown
(photogravure), as given by Mr. Haden in his monograph,
"The Etched Work of R." M. of F. A.
REMBRANDT'S ETCHINGS.
82. The Descent from the Cross. Large plate.
Second Version. Bl 56 ; B 81 ; W8 4; M 187; Du 88.
Signed : Rembrandt./, cvm pryvl. Dated 1633.
Four states ; two shown :
(a.) zd state. Gray Coll.
(.) 3d state. Sewall Coll.
Evidently executed with the aid of a pupil, whom Mr. Haden
(" Monograph," p. 27) supposes to have been Lievens, an opinion
which M. combats.
83. Adverse Fortune. Bl 81 ; B in; Wns; M
262 ; Du 112. Signed: Rembrandt f. Dated 1633.
Three states ; 3d state shown in three impressions :
(a.) Without text on back. Gray Coll.
(b.) With text on back. Sewall Coll.
(c.) Without text on back. Seivall Coll.
The 1st state, before the cutting of the plate, etc., is reproduced in
Dutuit's book, but one of the alleged distinctive marks of this state,
the failure of the acid in the shading between the wings of the half-
closed door on the left of the print, is lost in the reproduction. The
three impressions here shown as 3d states differ slightly. No trace
whatever of the full name, " Rembrandt," can be discovered (even
under the magnifying glass) on the side of the vessel on a, but an
abbreviation of the name, " Rembr.," has been added, apparently by
hand. The second impression b, with text on the back, corresponds to
the description ordinarily given of the 3d state. Impression c shows
some additional work in the shading between the wings of the door,
and would, therefore, strictly speaking, constitute a 4th state, although
it is in every way finer and more desirable than b, showing that the
paltry differences which generally constitute " states " are not always
to be relied upon as evidences of quality. V. proposes a new title for
this plate, viz. : " The History of St. Paul " (see his " Rembrandt," 2d
ed., pp. 124 and 125). Messrs. Haden and Middleton think the plate
was etched by one of R.'s pupils, possibly Bol., and M. is of opinion
that " the print itself has very little merit." Bl., on the contrary, con-
siders it " one of the happiest compositions of R."
84. Jan Cornells Sylvius. Bl 186 ; B 266; W
268; M no; Du 268. Signed ; Rembrandt. Dated
1633. M. reads 1634,
One state only ? Sewall Coll,
1 6 FIRST PRINT ROOM.
85. Rembrandt's Mother. Bligi; 6351; W346;
M 101 ; Du 339. Signed: Rembrandt, ft. Dated 1633.
Three states ; 2d state shown. Gray Coll.
86. Rembrandt, with a scarf around his neck. Bl
229 ; B 17 ; W 17 ; M 99 ; Du 17. Signed : Rembrandt.
ft. Dated 1633.
Three states ; 3d state shown :
(a.) Proof. Sewall Coll.
(.) Counterproof. Sewall Coll.
87. Rembrandt, in a fur cap and dark dress. Bl
210; B6; W6; M 17; Du 6. Assigned to 1633 by V.,
to 1630 by M.
Two states; 2d state shown. Sewall Coll.
88. Rembrandt, with the bird of prey. Bl 207 ; B
3 ; W 3 ; M 100 ; Du 3. Assigned to between 1632 and
1634 by V., to 1633 by M.
Three states; 2d state shown in photogr. From l.'s R.
Supposed to have been finished by some pupil, possibly Van Vliet,
according to Bl. Mr. Haden also points to Van Vliet as the possible
author of the plate.
89. Rembrandt, with bushy hair, and strongly shaded.
Bl 227 ; B 332 ; W 34; M 43 ; Du 34. Assigned to
1633 by V., to 1631 by M.
Two states; ist state shown in photogr. From Bl.'s R.
" Very doubtful," according to V. The monogram, Rt (although
the t might be a small capital Z,), seems to appear only in the second
state, reproduced by Dutuit. ,
90. Joseph and Potiphar's Wife. Bl n ; B 39 ;
W 43 ; M 192 ; Du 43. Signed : Rembrandt, ft. Dated
1634.
Two states. Not shown.
91. The Angel appearing to the Shepherds.
Bl 17; 644; W 49; M 191; Du 49."-^ Signed: Rem-
brandt, ft. Dated 1634.
Three states ; 3d state shown. Gray Coll.
REMBRANDT'S ETCHINGS.
92. The Samaritan Woman at the Ruins. Bl
46 ; 671; W 75 ; M 195 ; Du 73. Signed : Rembrandt.
f. Dated 1634.
Two states (according to M.) :
(a.) 2d state (with the scratch in the foreground).
Gray Coll.
(t>.) ad state (without the scratch). Sewall Coll.
Bl. says that the description of the states of this plate has hitherto
been unreliable, but that the three states described by him, according
to Weber, settle the question. M. refuses to recognize the three states
and allows only two. In spite of all this, however, it is still a difficult
matter to determine the states, from the descriptions given. Im
pression a would seem to be M.'s 2d state, as it has the diagonal
scratch in the white part of the foreground, etc. In impression l>, on
the other hand, evidently in all essentials the same state, this
scratch is not seen, and there is also'noticeable a difference in the shad-
ing over the left foot of Jesus. It is curious that a writer like Bl., with
his practical knowledge, should place any reliance upon such marks,
for a little experience at the printing press is sufficient to show their
unreliability. A scratch on the copper may result from a particle of
hard matter in the rag, and may show in a number of impressions,
until, the printer discovering it, it is removed by him with a touch of
the burnisher. Much more interesting is it to note the evident influ-
ence of Rubens in the figure of Jesus, not only in the head, but in
the whole of the pose. According to Mr. Haden, Gerard Dow is the
reputed author of the composition of this plate .
93. Jesus and the Disciples at Emmaus. (The
small plate.) Bl 62 ; B 88 ; W 93 ; M 194 ; Du 95.
Signed: Rembrandt ft. Dated 1634.
One state only. Scwall Coll.
Although M. allows only one state, he nevertheless says that " the plate
was coarsely retouched at some later time." The influence of Rubens is
again very apparent in this etching, more especially in the figure of Jesus.
94. St. Jerome, reading at the foot of a tree. Bl
71; B 100; W 105; M 190; Du 103. Signed: Rem-
brandt, f. Dated 1634.
Two states; 2d state shown. Sewall Coll.
V., following the usual reading, makes the date (which can be read
only with difficulty) 1654. But it is evidently 1634 in consonance
with the character of the work, which is that of R.'s earlier period.
M. thinks he sees the hand of Bol in parts of the plate. Mr. H?iden
also is inclined to attribute it to Bo}.
1 8 FIRST PRINT ROOM.
95. A Beggar, "tis vinnich hout."--Bl 140; B
177 ; W 174; M 112; Du 173. Signed: Rembrand (no
/, there being no room on the plate for it) f. (under the
name). Dated 1634.
One state only. Sewall Coll.
96. A Beggar. " Dats niet." Bl 141 ; B 178 ; W 175 ;
M 113; Du 174. Signed and dated: Rembranf 163, in
two lines, the last letters of the name and the last figure of
the date wanting, there being no room for them. Assigned
to 1634 by V. and by M.
One state only. Seivall Colt.
These companion pieces represent peasants rather than beggars.
The last word in the legend on TMo. 95 is always given as >out, but
it is clearly /zout. According to Mr. Haden, " Rembrandt copied "
these two plates from Hans Sebald Beham, and " Savry etched " them.
To show how closely R. " copied ", Beham's engravings, in faithful
reproductions, have been placed alongside of the etchings.
97. Woman seated with hair let down. (The Great
Jewish Bride.) Bl 199; B 340; W 337; M 108; Du
329. Signed: R (reversed). Dated 1634.
Four states ; 4th state shown. Sewatt Co/I.
This etching has also been called " Saskia," which is simply a libel
upon Rembrandt and his charming first wife. If the plate were
rejected, that would seem more natural. Even the more preferable 1st
state, reproduced by Dutuit, is unworthy of its proposed new title and
of its reputed authorship.
98. Supposed study for No. 97. Bl 239 ; B 341 ;
Du 330. Assigned to 1634 by V., rejected by M.
Two states (?) ; 2d state shown. Seivall Coll.
V. and Bl. both doubt this plate. W., like M., rejects it.
99. A Young Woman reading. Bl 242; B 345;
W 341 ; M 109 ; Du 334. Signed : Rembrandt./. Dated
1634.
Three states; 3d (?) state shown. Sewall Coll,
REMBRANDT'S ETCHINGS. 1 9
100. A Young Woman with pearls in her hair.
Bl 201; B 347 ; W 342; M 107; Du 335. Signed:
Rembrandt./. Dated 1634.
One state only. Sewall Coll.
This has also been called a portrait of Saskia, R.'s first wife.
101. Rembrandt, with moustaches and small beard.
Bl 206; B 2; W 2; M 106; Du 2. Assigned to
between 1632 and 1634 by V., to 1634 by M.
Two states ; 26. state shown. Sewall Coll.
102. Rembrandt, with bushy hair. Bl2i2; B 8 ; W
8 ; M 50; Du 8. Assigned to 1634 by V., to 1631 by M.
Six states ; three shown :
(a.) ist state in photogravure. From Bl's R.
(.) 4th state. Gray Coll.
(c:) 5th state. Sewall Coll.
M. assumes that the additional work on the 3d and 4th states is by
R.'s pupils. That on the 5th and 6th states, according to the same
writer, is supposed to belong to a much later time. Mr. Haden speaks
of this plate as a "vile copy " by Van Vliet.
103. Head of Rembrandt and other sketches Bl
237; B 363 ; W 357; M 136; Du 351. Assigned to
about 1634 by V., to 1639 by M.
Three states; 2d state shown in two impressions :
(a.) A heavy tint left upon the plate, parts only
wiped clean with the finger. Sewall Coll.
(b.~) Wiped clean. Sewall Coll.
104. Rembrandt with a flamboyant sword. Bl
231; B 18; W 18; M 105; Du 18. Signed : Rem-
brandt, f. Dated 1634.
Three states ; 3d state shown. Sewall Coll.
105. Rembrandt with a sword, wearing a tufted cap.
Bl 232 ; B 23 ; W 23 ; Mm; Du 23. Signed : Rem-
brandt ft. Dated 1634.
Four states ; three shown :
(a.) ist state in photogravure. From Bl.'s R.
(b.) 2d state in photogravure. From Dn.'s K .
(c.) 3d state. Sewall Coll.
20 FIRST PRINT ROOM.
The recklessness and lack of judgment with which R.'s name has
been connected with the male heads etched by or attributed to him, are
easily seen upon a comparison of Nos. 104 and 105. M. calls the
latter a " Portrait, Unknown." V. thinks it rather a study from R.'s
figure than a portrait. But the face certainly has a marked individual-
ity, and the mole at the right of the nose would hardly be in place in
an ideal head.
106. The Landscape with the Cow (Ruins on
the Seashore). Bl 309; 6206; W 203; Du 203.
Monogram RHL. f. Dated 1634. V. thinks, however,
that the date has been added by hand. Rejected by M.
Two states ; 2d state shown in photogr. From Bl.'s R.
107. Jesus Driving the Money Changers from
the Temple. Bl 44 ; B 69 ; W 73 ; M 198 ; Du 80.
Signed : Rembrandt, ft. Dated 1635.
Two states ; both shown :
(a.) ist state. . Sewalt Coll.
(&.} 2 d state. Sewall Coll.
The difference between the two " states" of this plate shows plainly
the puerile character of many of the distinctions involved. M.'s order
of states, which is the usual order, has here been followed, although
Bl., who inverts it, is no doubt correct. There do not, in fact,
exist two states. The dark spots around the mouth and on the fore-
head and sole of the man under the ox are due evidently to an acci-
dent, and were burnished out or disappeared of themselves, after a
number of impressions had been taken. They are, therefore, evidences
of priority rather than otherwise. The figure of Christ, it is well
known, is a reversed copy of a figure in Diirer's Little Passion.
108. The Tribute Money. Bl 42 ; B 68 ; W 72 ;
M 196; Du 81. Assigned to 1635 by V., to 1634 by M.
One state only. Scwall Coll.
Three states are usually described, but according to M., there is
practically only one state.
109. The Martrydomof St. Stephen. Bl 68; B
97; W 102; M 197; Du 100. Signed: Rembrandt, ft.
Dated 1635.
One state only. Gray Coll.
REMBRANDT'S ETCHINGS.
Two states are usually described, but according to M., there is prac-
tically only one state, although he admits that there are impressions
from the plate after it had been " coarsely reworked."
no. St. Jerome Kneeling. Bl 73; B 102; W
107; M 199; Du 105. Signed: Rembrandt/. Dated
1635-
One state only. Sewall Coll.
in. The Mountebank. 6192; B 129; W 132;
M 117 ; Du 129. Signed : Rembrandt ft. Dated 1635.
One state only. Sewall Coll.
112. The Pancake Woman. Bl 93; B 124; W
128; M 264 ; Du 125. Signed: Rembrandt, ft. Dated
1635-
Four states ; 3d state shown. Sewall Coll.
113. A Nude Woman, sitting on a hillock. Bl
162; B 198; W 195; M 256; Du 195. Assigned to
by V., to 1631 by M.
One state only. Sewall Coll.
114. Johannes Uytenbogaert. Bl 190; B 279;
W 281 ; M 114 ; Du 272. Signed and dated in 30! state :
Rembrandt, f. 1635.
Five states; two shown:
(a.) 3d state in photogravure. Sewall Coll.
(.) 5th state. Sewall Coll.
(<:.) 5th state. Sewall Coll.
The signature does not appear to be by R. himself. The b, the .) 4th state (?). Sewall Coll.
M.'s description does not fit the impressions shown, nor does it cor-
respond with 131. 's.
131. An Old Man, in an ample velvet cloak and with
a fur cap. Bl 270; B 262; W 264 ; M 90; Du 278.
Monogram RHL ft. Assigned to between 1630 and
1635 % V" to x ^3 2 by M.
Three states ; 2d state shown. Sewall Coll.
132. An Old Man, with a turned-up cap (in the 2d
state). Bl 280; B 337; W 332; M 96 ; Du 327. As-
signed to between 1630 and 1635 by V., to 1632 by M.
Three states ; 3d state shown in photogr. From Bl.'s R.
133. An Old Woman, asleep over her book. Bl
244; B 350; W 345; M 116; Du 338. Assigned to
about 1635 ^ VM to 1635 by M.
One state only. Sewall Coll.
REMBRANDT'S ETCHINGS. 2$
134. Head of a Man crying out. Bl 299 ; B 327 ;
W 325 ; M 97 ; Du 320. Assigned to between 1630 and
1635 by V., to 1632 by M.
Two states ; both shown :
(a.) i st state. Sewall Coll.
(.) 2d state. Sewall Coll.
135. Sketches of five heads and a half-length figure.
1)1 308; B 366 ; W 360; M 83 ; Du 354. Monogram
RHL, reversed. Assigned to between 1630 and 1635 by
V., to 1631 by M.
Two states ; ist state shown in photogr. From Bl.'s R.
The plate was afterwards cut into five pieces. See Nos. 136 to 140.
136. Bust of an Old Man, in profile to right. (Part
of No. 135.) Bl 290; 6334; W33o; M 84 ; Du 325.
Two states ; 2d state shown in photogr. From Bl.'s R.
137. Bust of an Old Man, and head of a cat.
(Part of No. 135.) 61292; 6333 ; W 329^85; 011324.
Five states ; 2d state shown in photogr. From Bl.'s R.
138. An Old Man, seen from behind. (Part of No.
135.) Bl 109; B 143 ; W 143; M 86; Du 141.
Four states ; two shown :
(a.) 2 d state. Sewall Coll.
(.) 4th state. SewallColL
M. thinks the work on the 4th state clue to a later hand.
139. A Turkish Slave. (Part of No. 135.) Bl
293 ; B 303 ; W 303 ; M 87 ; Du 299.
Two states ; 2d state shown in photogr. From Bl.'s R.
140. Bust of a Man, crying out, turned to the left.
(Part of No. 135.) Bl2 9 i ; 6300^300; M 88;Du 296.
Five states ; two shown :
(a.} 2f\ state in photogravure. From JBl.'s R.
(.) 5th state. SewallColL
According to M. the variations in the 3d and later states were not
made by R.
26 FIRST PRINT ROOM.
141. The Haycart. Bl 345; B 251; W 247; Du
248. Assigned to between 1630 and 1635 by V., rejected
by M.
Two states; ist state shown in photogr. From Bl.'s R.
142. Sketch of a Dog. Bl 351 ; B 371; W 365;
M 266; Du 359. Assigned to between 1630 and 1635 by
V., to 1640 by M.
One state only. Shown in photogravure. From Bl.'s R.
143. The Return of the Prodigal. Bl 43 ; B 91 ;
W 96 ; M 201; Du 76. Signed: Rembrandt f. Dated
1636.
One state only. Sewall Cull.
The composition of this plate is said to be by Heemskirk.
144. The Ecce Homo. Bl 52 ; B 77; W 82 ; M
200; Du84. Marked in 3d state, with the graver, quite
lightly and very clumsily : Rembrandt ft. /6j6. cum privileg.
Five states ; two shown :
(a.) 3d state. Gray Coll.
(.) 4th state. Sewall Coll.
Mr. Hadeninhis " Monograph " gives a reproduction of a part of the
unfinished ist state, showing the engraver-like manner in which the
work was done. The plate was probably executed, partly at least, by
Lievens or Van Vliet. To the copies described by M. must be added
another, rather effective as a whole, although very mediocre in detail;
etched surface, h.-. 537, b. .444; marked Rembrandt f. in a clear
space below. An impression in the Museum of Fine Arts.
145. Landscape with a Flock of Sheep. Arched.
61325; B 224 ; W 221; M 319; Du 221. Signed :
Rembrandt f. Dated 1636.
Two states; 2d state shown. Sewall Coll.
M. reads the date 1650, but on the impression shown it is evidently
1636.
146. Landscape with a Milkman. Bl 316 ; B 213 ;
W 210; M 320; Du 210. Assigned to 1636 by V., to
1650 by M.
Two states ; ad state shown. Gray Coll.
REMBRANDT'S ETCHINGS.
147. The House on the Banks of the Canal. 131
342 ; B 245 ; W 241 ; Du 242. Assigned to 1636 by V.,
rejected by M.
Two states; ist state shown in photogr. From Bl'sR.
148. Mennaseh-Ben-Israel. 1183; B 269 ; W
271; M 127; Du 266. Signed: Rembrandt f. Dated
1636.
Two states; 2d state shown. Bewail Coll,
149. Rembrandt and his Wife. Bl 203; B 19;
W 19 ; M 128 ; Du 19. Signed: Rembrandt f. Dated
1636.
One state only. Sewall Coll.
150. Saskia, and five other heads. Bl 249; B
365; W 359; M 129; Du 353. Signed: Rembrandt, f.
Dated 1636.
Two states ; ist state shown. Sewall Coll.
151. Saskia, and two other heads. Bl 250; 6367;
W 361 ; M 115 ; Du 355. Assigned to between 1634 and
1636, probably the latter year, by V., to 1635 by M.
Two states ; 2d state shown. Sewall Coll.
152. Abraham Sending away Hagar and Ish-
mael. Bl 3 ; B 30 ; W 37 ; M 204 ; Du 37. Signed :
Rembrandt/. Dated 1637.
One state only. Sewall Coll.
153. A Young Man, seated, reflecting. Bl 258 ; B
268; W 270; M 132; Du 282. Signed: Rembrandt f.
Dated 1637.
One state only. Sewall Coll.
R.'s signature about this time, beginning with plate No. 148, shows
curious changes. There is something fanciful in the signatures oh
plates 149, 150, and 153, which at first sight seems to throw a doubt
upon their genuineness.
28 FIRST PRINT ROOM.
154. An Old Man, wearing a rich velvet cap. Bl
269; B 313; W 314; M 131; Du 309. Signed: Rem-
brandt f. Dated 1637.
One state only. Sewall Coll.
The name and date have been erased on the impression shown.
155. Saskia, and two other heads of women, one
asleep. Bl 251 ; B 368 ; W 362 ; M 130; Du 356.
Signed: Rembrandt f. Dated 1637.
One state only. Sewall Coll.
156. Adam and Eve. Bl i ; B 28 ; W 35 ; M 206 ;
Du 35. Signed : Rembrandt, ft. Dated 1638.
Two states ; 2d state shown :
(a.) Original impression. Sewall Coll.
(b.) The " deceptive copy," described by Bartsch.
Sewall Coll.
The copy is shown to put collectors on their guard. Bl., in his
" Oeuvre de R." of 1873, reproduces this copy as the original. In the
later " Oeuvre " of 1880, the original is reproduced, and the copy is
alluded to in the text, but the reader's attention is not called to the error
in the previous edition, a precaution which certainly ought to have
been taken, as collectors are likely to be misled, and have been mis-
led, by Bl.'s curious mistake.
157. Abraham caressing Isaac. Bl 4 ; B 33 ; W
135* ; M 203 ; Du 38. Signed : Rembrandt, f. Assigned
to about 1637 to 1639 by V., to 1636 by M.
One state only. Gray Coll.
M. is inclined to doubt this piece, and to attribute it to Bol.
158. Joseph telling his Dreams. Bl 9; B 37;
W 41 ; M 205; Du 41. Signed: Rembrant f. Dated
1638.
Two states ; both shown :
(a.) i st state. Sewall Coll.
(b.) 2 d state. Snvall Coll.
The signature is very difficult to make out, and seems to lack the .) Without these. Sewall Coll.
The impression lent by Mr. Hooper is shown framed on top of the
case in the middle of the room. The wrong use made of the word
" state " is well illustrated by the so-called " states " of this plate.
Speaking of the 30! state, M. says, " We may, no doubt, regard this as
the finished plate, the ist and 2d states being trial proofs." The so-
called 3d state is, therefore, in reality the ist state.
165. Youth Surprised by Death. Bl 79 ; B 109 ;
W 1 13 ; M 265 ; Du 1 10. Signed : Rembrandt f. Dated
1639.
One state only. Sewall Coll.
166. The Receiver Uytenbogaert. (The Gold-
weigher.) Bl 189 ; B 281 ; W 283 ; M 138 ; Du 271. -
Signed: Rembrandt ft. Dated 1639.
Three states; two shown:
(a.) 2d state. Sewall Coll.
(b.) 3 d state. Sewall Coll.
Concerning Mr. Haden's theories about this plate, viz., that only the
head and shoulders of Uytenbogaert are by R., the rest by Bol, see his
" Monograph," p. 30.
167. Rembrandt leaning on a stone sill. Bl 234;
621; W 21 ; M 137 ; Du 21. Signed: Rembrandt f.
Dated 1639.
Two states ; 2d state shown. Gray Coll.
168. A Jew with a High Cap. Bl 101 ; B 133; W
135 ; M 140 ; Du 132. Signed : Rembrandt f. Dated 1639.
.Qjie state only. Sewall Coll.
REMBRANDT'S ETCHINGS.
169. A Physician Feeling the Pulse of a Patient.
Bln6; B 155 ; W 152 ; M 143; Du 151. Assigned
to 1639 by V. and by M.
One state only. Shown in photogravure. From Bl.'s R,
Compare with the physician in No. 164.
170. The Decapitation of St. John, the Baptist.
Bl 40 ; B 92 ; W 97 ; M 209 ; Du 74. Signed : Rem-
brandt f. Dated 1640.
Two states ; 2d state shown. Sewall Co/I.
M. describes the executioner as "bared to the waist," which is a
mistake. In the 1st state (reproduced in Dutuit's book), the execu-
tioner is clothed, as in the state here shown.
171. The Triumph of Mordecai. Bl 12; B 40;
W 44 ; M 228 ; Du 48. Assigned to about 1640 to 1645
by V., to 1651 by M.
One state only. Gray Coll.
According to Bl., there is a ad state, retouched. The name, Rein-
brant (without (f), on the impression shown, has evidently been written
upon it. As portraits of the artist and his wife are so eagerly sought out
in R.'s etchings, it is a wonder that no one has yet pointed out the
resemblance to them which may be detected in the two figures on the
balcony to the right, supposed to represent King Ahasuerus and his
queen Esther.
172. The Virgin Mourning the Death of Jesus.
Bl 59 ; B 85 ; W 90 ; M 202 ; Du 91. Assigned to
1640 by V., to 1636 by M.
One state only. Shown in photogravure. From Bl's R.
Bl. and W. describe two states. Bl., although he retains this plate,
is inclined to attribute it to Bol, and sees Italian influences in it.
173. The Holy Family. (The Virgin with the
Basket of Linen.) Bl 33 ; B 62 ; W 66 ; M 182 ; Du
65. Monogram RHL, Assigned to 1640 by V., to 1632
by M.
One state only. Sewall Coll.
FIRST PRINT ROOM.
The monogram favors the earlier year. W. and Bl. describe two states,
and M.'s reasons for discarding them hardly seem satisfactory. V. says,
" This piece is in the Italian manner."
174. The Crucifixion. Small oval plate. Bl 54;
B 79; W 85 ; M 222 ; Du 86. Assigned to about 1640
by V., to 1648 by M.
Two states ; 2d state shown. Sewall Coll.
175. The Sick Woman. (Saskia Dying.) Bl
202; B 359 ; W 353; M 150; Du 347. Assigned to
about 1640 by V., to 1672 by M.
One state only. Sewall Coll.
V. does not share the opinion of Bl. and others, that this is a portrait
of Saskia.
176. The Skater. Bl 121 ; B 156 ; W 153 ; M 103 ;
Du 152. Assigned to between 1636 and 1640 by V., to
1633 by M.
One state only. Shown in photogravure. From Bl?s R.
177. A Young Woman with a basket. Bl 240; B
356 ; W 350 ; M 151 ; Du 344. Assigned to about 1640
by V., to 1642 by M.
Two states; ist state shown. Sewall Coll.
178. An Old Man with a divided fur cap. Bl 271 ;
B 265 ; W 267 ; M 145 ; Du 280. Signed : Rembrandt f.
Dated 1640.
One state only. Sewall Coll.
179. The Bull. Bl 346 ; B 253 ; W 249 ; M 289 ;
Du 250. Signed: Rembrandt, f. 164. (last figure want-
ing). Date read 1640 by V. ; assigned to 1649 ^ v M.
One state only. Shown in photogravure. FromBl.'s R.
180. The Canal. Bl 322 ; B 221 ; W 218 ; M 327 ;
Du 218. Assigned to about 1640 by V., to 1652 by M.
One state only. Sewall Coll.
REMBRANDT^ ETCHINGS.
181. The Adoration of the Shepherds. Night
feet. Bl 19 ; B 46; W 51 ; M 230 ; Du 51. Assigned
between 1632 and 1640 by V., to 1652 by M.
Six states ; two shown :
(a.) 2d state (?). Sewall Coll.
(1).) 6th state (?). Sewall Coll.
Both M. and Bl. describe six states, but their descriptions are at
variance with one another, and do not agree with the prints them-
selves. The trouble probably arises from the description of trial proofs
as states, and from variations in printing. Very likely, impression a is
the ist state, and earlier impressions are only trial proofs.
182. The Flight into Egypt. Bl 27 ; B 54 ; W 59 ;
M 181 ; Du 59. Assigned to between 1632 and 1640 by
V., to 1630 by M.
Six states ; two shown :
(a.) ist state shown in photogr. From BL's R.
(/;.) 5th state. Sewall Coll.
183. The Repose in Egypt. Night effect. Bl 30 ;
B 57 ; W 62 ; M 221 ; Du 62. Assigned to between
1632 and 1640 by V., to 1647 by M.
Three states ; 3d state shown. Sewall Coll.
184. Sketches, including those of two sick women in
bed. Bl 122; B 369; W 363; M 144; Du 357.
Assigned to between 1635 and 1640 by V., to 1639 by M.
One state only :
(a.) Original impression. Sewall Coll.
(l>.) Photogravure reproduction. From Bl.'s R.
The original and fac-simile are both shown to enable visitors to see
all the sketches in an upright position.
185. A Beggar, front view, standing and leaning
upon a stick. Bl 125; B 162; W 159; M 33 ; Du 158.
Assigned to between 1635 an< ^ J ^4o by V., to 1630 by
M.
Two states ; 2d state shown. Sewall Coll.
34 FIRST PRINT ROOM.
186. A Beggar, in profile, standing and leaning on a
stick. Bl 126; B 163; W 160; M 141; Du 159. As-
signed to between 1632 and 1640 by V., to 1639 by M.
One state only. Sewall Coll.
187. A Beggar, with his wife and child. Bl 127;
B 161 ; W 158; M 142; Du 157. Assigned to between
1632 and 1640 by V., to 1639 by M.
One state only. Shown in photogravure. From Bl.'s R.
188. A Ragged Peasant, with his hands behind him.
Bl 137 ; B 172; W 169; M 12 1 ; Du 168. Assigned
to between 1632 and 1640 by V., to 1635 by M.
Three states ; 3d state shown :
(a.) Original impression. Sewall Coll.
(.) Photogravure reproduction. From Bl?s R.
The two impressions have been hung to show the curious difference
in the lines to the right of the figure, which may possibly be due to
intentional suppression in the printing. A comparison of these impres-
sions with Fig. 6, on Plate I,' of M.'s catalogue, will show the unwar-
rantable carelessness with which many of the figures in this book have
been drawn, making them a stumbling-block rather than a help to the
collector.
189. A Beggar, with a wooden leg. Bl 142; B 179;
W 176; M 35; Du 175. Assigned to between 1632 and
1640 by V., to 1630 by M.
Two states; 2d state shown. Scwall Coll.
190. An Old Man lifting his hand to his cap. Bl
268; B 259; W 260; M 139; W 275. Assigned to
between 1632 and 1640 by V., to 1639 by M.
Two states :
(a.) ist state. Sewall Coll.
(l>.) 2d state. Scwall Coll.
M. allows one state only. Impression a is from the plate as left by
R.; l> is from the same plate as finished by G. I 1 '. Schmidt towards the
end of last century.
REMBRANDT'S ETCHINGS. 35
191. An Orchard with a Barn. 1330; B 230;
W 227 ; M 316 ; Du 227. Assigned to between 1632 and
1640 by V., to 1648 by M.
Two states ; ist state shown in photogr. From Bl's R.
192. Landscape with a cow drinking. Bl 337 ; B
237; W 234; M 318; Du 234. Assigned to between
1632 and 1640 by^V., to 1649 by M.
Four states (?) ; 3d state shown. Sewall Coll.
The cataloguers disagree sadly in their descriptions of the states of
this plate. M. allows only two. In the ist the ground in the lower
right corner is only partially shaded, in the 2d there is more shading,
but still the extreme lower right corner is blank. M. admits that there
are other variations, but he says, " The latest impressions are so bad
that I think it is not worth our while to describe them." Nevertheless,
both Bl. and Du. reproduce the state of the plate shown in this
exhibition, which is certainly later than M.'s 2d state, and there is a
still later state which is not quite so bad as to make it unworthy of
being looked at. There would seem to be, therefore, at least four
states, vir., ist and 2d as described by M. (for distinctive marks, see
his Plate XI, Fig. 57); 3d as here shown; 4th in which the gable end
of the building has been worked over, new dry-point work is observa-
ble in the trees, and attempts have been made to strengthen the rocks
to the left.
193. The Coach Landscape. B2i5;W2i2; Du
212. Assigned to between 1632 and 1640 by V..; rejected
by M. and Bl.
One state (?). Not procurable.
A photogravure reproduction is given by Dutuit, who, however, also
considers the piece doubtful.
194. An Old Man in a high cap, asleep. Bl 286;
6290; W 292; M 126; Du 287. Signed: Rembrandt.
Assigned to between 1632 and 1640 by V., to 1635 by M.
One state only. Sewall Coll.
" Somewhat doubtful," according to M.
195. Landscape, with an obelisk. Bl 328; B 227;
W 224; M 324 ; Du 224. Assigned to between 1632 and
1640 by V., to 1650 by M.
Two states ; 2d state shown. Sewall Coll.
36 FIRST PRINT ROOM.
196. Jacob and Laban. (Three Oriental Figures.)
Bl 7 ; Bu8; Wi22; Mai2; Dung. Signed, re-
versed : Rembrandt./. Dated 1641.
Two states ; 2d state shown. Sewall Coll.
197. The Angel Ascending from Tobit and his
Family. Bl 16; B 43 ; W48; M 213 ; Du 46. Signed :
Rembrandt f. Dated 1641.
Two states ; both shown :
(a.) ist state. Sewall Coll.
(b.} 2d state. Sewall Coll.
198. The Virgin and Child on Clouds. Bl 32;
B 61 ; W 65 ; M 211 ; Du 64.
One state only. Gray Coll.
199. The Baptism of the Eunuch. Bl 69 ; B 98 ;
W 103 ; M 210 ; Du 101. Signed : Rembrandt, f. Dated
1641.
Two states ; 2d state shown. Sewall Coll.
200. The Schoolmaster. (The Hurdy-Gurdy Player.)
Bigg; Bi28; W 131 ; M 271 ; Du 128. Signed :
Rembrandt f. Dated 1641.
One state only. Sewall Coll.
201. The Star of the Kings. Bl 85; B 113; W
117; M 293 ; Du 114. Assigned to 1641 by V., to 1652
by M.
One state only. Sewall Coll.
202. The Large Lion Hunt. Bl 86; B 114; W
118; M 272; Du 115. Signed: Rembrandt f. Dated
1641.
One state only. Sewall Coll.
203. The Small Lion Hunt, with a lioness. Bl
87 ; 6115; W 119; M 273 ; Du 116. Assigned to 1641
by V. and by M.
Two states; 2d state shown. Seivall Coll.
&EMBRANt>T*S ETCHINGS. 3?
204. Another Lion Hunt. Companion to No. 203.
Bl 88 ; B 116; W 120 ; M 274 ; Du 117. Assigned to
1641 by V. and by M.
One state only. Sewall Coll.
The three " Lion Hunts," Nos. 202, 203, and 204, as well as No.
205, are generally described as " in the manner of Rubens."
205. Battlepiece. Bl 89 ; B 117 ; W 121 ; M 275 ;
Du 118. Assigned to 1641 by V. and by M.
Three states ; zd state shown. Sewall Coll.
206. Cornells Claesz. Anslo. Bl 170; B 271 ; W
273; M 146; Du 254. Signed: Rembrandt f. Dated
1641.
Four states ; two shown :
(a.) 3d state. Sewall Coll.
(},} 4th state. Sewall Coll.
207. Portrait of a Boy. Bl 177 ; B 310; W 311 ;
M 148 ; Du 306. Signed: Rembrandt./. Dated 1641.
One state only. Sewall Coll.
Called also, erroneously, according to V., " Portrait of William II."
208. A Man with Crucifix and Chain. (The Writer.)
-Bl 257; B 261; W 263; M 147; Du 277. Signed:
Rembrandt f. Dated 1641.
Four states ; 2d state shown. Sewall Coll.
209. A Man Playing Cards. Bl 104; B 136; W
137 ; M 269 ; Du 135. Signed : Rembrandt f. Dated
1641.
Three states :
(a.) ist state. Sewall Coll.
(.) 2d state. Sewall Coll.
(c.) 3d state. Sewall Coll.
Impression b is partly washed with India ink.
38 FIRS7 PRINT ROOM.
210. View of Amsterdam. Bl 313; B 210; W
207 ; M 304 ; Du 207. Assigned to 1641 by V., to 1640
by M.
One state only. Sewall ColL
About one quarter of an inch has been cut off on the left side of
the impression shown.
211. Landscape with a cottage and a hay -barn. Bl
327; B 225; W 222 ; M 306; Uu 222. Signed: Rem-
brandt /. Dated 1641.
One state only. Gray ColL
212. Landscape with a mill sail. Bl 326 ; B 226 ;
W 223 ; M 307 ; Du 223. Signed : Rembrandt f. Dated
1641.
One state only. Sewall Coll.
213. The Mill. (Rembrandt's Mill.) Bl 333 ; B
233 ; W 230 ; M 305 ; Du 230. Signed : Rembrandt f.
Dated 1641.
One state only. Sewall ColL
214. The Resurrection of Lazarus. (Small plate.)
Bl 47 ; B 72 ; W 76 ; M 215 ; Du 78. Signed : Rem-
brandt f. Dated 1642.
One state only. Sewall ColL
There exists a reversed copy not described by M.
215. The Descent from the Cross. A sketch.
Bl 57 ; B 82; W 87; M 216; Du 89. Signed : Rem-
brandt f. Dated 1642.
One state only. Sewall ColL
216. St. Jerome, writing near a large tree. Bl 74 ;
B 103; W 1 08 ; M 223; Du 106. Signed in 2d state:
Rembrandt f. Dated 1642 (?) or 1648 (?).
Two states ; 2d state shown. Sewall ColL
REMBRANDT'S ETCHINGS. 39
V. specially says that the date is 1642, and not 1648. M. neverthe-
less reads the latter date, and, on the evidence of the impression shown,
he is certainly right. He thinks, however, that the etched work in this
plate is earlier than the dry pointing (which includes the date), and
bears a resemblance to the work of 1642.
217. St. Jerome, in meditation. Bl 76; B 105;
W 110 ; M 214; Du 108. Signed: Rembrandt/. Dated
1642.
Two states ; 2d state shown. Sewall Coll.
218. The Spanish Gipsy. Bl 83 ; B 120 ; W 124 ;
M 285; Du 121. Assigned to 1642 by V., to 1647
by M.
One state only. Shown in photogravure. From JSl.'s R.
219. The Flute Player. Bl 153 ; B 188 ; W 185 ;
M 268; Du 185. Signed in 2d state: Rembrandt f.
Dated 1642.
Four states ; two shown :
(a. ) ist state. Shown in photogr. From Bl.'s R.
(b.) 4th state. Sewall Coll.
M. reads 1640, but the date is clearly 1642, with the 2 reversed.
220. The Monk in the Cornfield. Bl 152 ; B
187 ; W 184 ; M 282 ; Du 184. Assigned to 1642 by V.,
to 1646 by M.
One state only. Not shoivn.
221. The Shepherds in the Wood. (The Old Man
Asleep.) Bl 154; B 189; W 186; M 281; Du 186.
Assigned to 1642 by V., to 1646 by M.
One state only. Not shown.
222. A Man in an Arbor. Bl 262 ; B 257 ; W 258 ;
M 152; Du 273. Signed: Rembrandt f. Dated 1642.
One state only. Gray Coll.
4O FIRST PRINT ROOM.
223. Sketches of a tree, etc. Bl 349; 6372; W
366; M 154; Du 360. Assigned to 1643 by V. for the
whole, by M. for the tree.
One state only. Sewall Coll.
224. The Hog. 61350; B 157; W 154; M 277;
Du 153. Signed: Rembrandt f. Dated 1643.
Two states; ist state shown. Sewall Coll.
225. The Three Trees. Bl 315 ; 6212; W 209 ;
M 309; Du 209. Signed: Rembrandt. Dated 1643.
One state only.
(a.) Impression from plate. Sewall Coll.
(b.) Counterproof. Sewall Coll.
226. The Shepherd and his Family. Bl 321 ; B
220; W2i7; M3io; Du 217. Signed: Rembrandt f.
Dated 1644.
One state only. Sewall Coll.
227. Abraham Speaking to Isaac. Bl 5 ; 634;
W 38 ; M 220; Du 39. Signed: Rembrant (no d).
Dated 1645.
One state only. Sewall Coll.
228. The Repose in Egypt. Bl 31 ; B 58 ; W 63 ;
M 218 ; Du 63. Rembrandt, f. Dated 1645.
One state only. Sewall Coll.
229. St. Peter. Bl 67 ; B 96 ; W 101 ; M 2 19 ; Du
99. Signed: Rembrandt/. 1645.
One state only. Sewall Coll.
V. is particular to state that the date on this plate is 1655, and not
1645." ^ n the impression shown, however, as well as on the reproduc-
tions given by Bl. and Du., the date is very clearly 1645.
230. An Old Man, meditating. Bl in ; B 147;
W 145; M 156; Du 143. Assigned to 1645 by V., to
1646 by M.
Two states ; 2d state shown in photogr, F*om Bl's R,
REMBRANDT'S ETCHINGS. 4!
231. Jan Cornells Sylvius. Bl 187; B 280; W
282; M 155; Du 269. Signed: Rembrandt. Dated
1646.
Two states ; 2d state shown. Sewall Coll.
232. Rembrandt, drawing on a plate. Bl 228 ; W
32; M 173; Du 32. Signed: Rembrandt f. Dated
1645 (or 1658?).
One state only. Shown in photogravure. From Bl*s R.
The reproduction shown is not from the original, of which only one
or two copies are known, but from a copy by Basan. On this copy
the date is plainly 1645. M. and Du. claim, however, that the original
is dated 1658. "Doubtful," says V., " I do not believe it is by R."
How this hideous and ill-drawn portrait came to be admitted among
R.'s work at all, it would be difficult to say. Still, all the catalogues,
except B., admit it, although they cannot even agree upon the meaning
of the head covering worn by the man, one (W.) declaring it to be " a
cap, the end of which comes down on the right "; a second (Bl.) " un
bonnet de coton, dont la meche penche sur le cote droit " (say a cotton
nightcap); a third (M.) "a soft cap with a feather passing across the
front," while the fourth (Du.), more guarded than his brethren, contents
himself by describing it as " une espece de bonnet." If Basan has
copied the signature with only approximate correctness, that alone ought
to condemn the plate.
233. Six's Bridge. Bl 311; B 208; W 205; M
313 ; Du 205. Signed : Rembrandt f. Dated 1645.
Three states ; 3d state shown. Sewall Coll.
234. View of Omval. Bl 312 ; B 209 ; W 206 ; M
31 1 ; Du 206. Signed : Rembrant (no d). Dated 1645.
One state only.
(a.) Impression from the plate in its original con-
dition. Sewall Coll.
(.) Impression from the disfigured plate.
Sewall Coll.
Impression b is the one described by M. from the collection of the
Rev. Burleigh James. Mr. Haden says that " Omval is not a village,
but a bend in the river Amstel, near Amsterdam," and that, therefore,
the plate ought to be called " The Omval." V., on the contrary, him-
self a Hollander, speaks of the subject quite explicitly as " the view
of Omval, a village in the environs of Amsterdam,"
42 FIRST PRINT ROOM.
235. Landscape, with a man sketching. 61320;
B 219 ; W2i6; M3i5; Du 216. Assigned to 1645 by
V., to 1646 by M.
One state only. Sewall Coll.
236. The Cottages near the Canal. (The Sail
Boat.) Bl 329; 6228; W 225; M 314; Du 225.
Assigned to 1645 by V. and by M.
Two states ; ist state shown. Sewall Coll.
V. thinks this may be a view of Hillegom, the home of the Six family.
237. The Boat under the Trees. (A Grotto with
a Brook. The Boathouse.) Bl 331 ; B 231 ; W 228 ; M
312 ; Du 228. Signed : Rembrandt. Dated 1645.
One state only. (Late impression shown.) Sewall Coll.
238. Study of a youth seated. (Study for the Prodi-
gal Son.) Bl 158 ; B 193 ; W 190 ; M 279 ; Du 190.
Signed : Rembrandt, f. Dated 1646.
One state only. Sewall Coll.
239. Study of a youth seated on the ground. Bl
160; B 196; W 193; M 278; Du 193. Signed: Rem-
brandt, f. Dated 1646.
One state only. Sewall Coll.
240. Studies of two boys; a go-cart, etc., in the back-
ground. Bl 159; B 194; W 191; M 280; Du 191.
Assigned to 1646 by V. and by M.
Two states ; 2d state shown. Sewall Coll.
M. claims that in the background we have a sketch " executed at a
much earlier time, and which was entirely overlooked when R. worked
these studies upon the plate," all of which is contradicted by the com-
position of the plate and the way in which the cavity of the fireplace,
instead of being " entirely overlooked," is made to serve a purpose in
throwing the standing figure into relief.
REMBRANDT'S ETCHINGS. 43
241. A Beggar Woman. Bl 134; B 170; W 167;
M 157 ; Du 166. Signed: Rembrandt, /. Dated 1646.
One state only. Sewall Coll.
242. De Ledekant. Bl 151 ; B 186; W 183; M
283 ; Du 183. Signed : Rembrandt f. Dated 1646.
Three states. Not shoivn.
243. Portrait of Jan Six. Bl 184 ; B 285 ; W 287 ;
M 159; Du 267. Signed : Rembrandt./. Dated 1647.
Three states; two shown :
(a.) 2cl state. Gray Coll.
(b.) 3d state. Sewall Coll.
244. Portrait of Dr. Ephraim Bonus. (The Jew
at the Baluster.) Bl 172; B 278; W28o; M 158; Du
256. Signed: Rembrandt./. Dated 1647.
Two states ; 2d state shown. Gray Coll.
245. Portrait of Jan Asselyn. Bl 171; 6277;
W 279; M 161 ; Du 255. Signature and date incom-
plete. Assigned to 1647 by V., to 1648 by M.
Three states ; two shown :
(a.) ist state in photogravure. From El's R.
(b.} 3d state. Gray Coll.
Bl. describes four and speaks of a 5th state.
246. Portrait of Dr. Jan Antonides Van der Lin-
den. Bl 181 ; B 264; W 266 ; M 167 ; Du 264. As-
signed to between 1647 anc ^ I ^s6 by V., to 1653 by M.
Six states ; state shown ? Sewall Coll.
It is difficult to make out the states of this plate from the descriptions.
The impression shown would appear to be between M.'s 3d and
4th states.
247. The Synagogue. Bl 98 ; B 126; W 130; M
288 ; Du 127. Signed : Rembrandt./. Dated 1648.
Three states; 2d (?) state shown. Sewall Coll.
44 FIRST PRINT ROOM.
248. Medea. (The Marriage of Jason and Creusa.)
B182; Bii2; Wn6; M 286; Du 113. Signed and
dated in 4th state: Rembrandt, f. 1648.
Five states ; four shown :
(a.) ist state. Gray Coll.
\b.} 3d state. Scwall Coll.
(c.) 4th state. Sewall Coll.
(d.) 5th state. Sewall Coll.
M. describes Medea, who is seen advancing in the lower right cor-
ner, as " holding a handkerchief to her face, as if weeping." The im-
pressions shown demonstrate that this description is not correct.
249. The Phoenix. (The Allegorical Tomb.) Bl
80; Buo; W 114; M 296; Du in Signed: Rcm-
brand f. (apparently no f). Date read 1648 by V., 1658
by M , still differently by others.
One state only. Shown in photogravure. From Bl.'s R.
250. Beggars at the Door of a House. Bl 146;
B 176; W 173; M 287; Du 172. Signed: Rembrandt./.
Dated 1648.
Two states ; 2d state shown :
(a.) Printed in black. Sewall Coll.
(/>.) Printed in red. Gray Coll.
251. Doctor Faustus. Bl 84 ; B 270 ; W 272 ; M
291; Du 259. Assigned to between 1647 ar >d l6 5 by
V., to 1651 by M.
Three states :
(a.) ist state. Sewall Coll.
(b!) 2d state. Scwall Coll.
(c.) 3d state. Gray Coll.
252. An Artist (R.?) Drawing from a Model.
Bl 157; B 192; W 189; M 284; Du 189. Assigned to
between 1646 and 1648 by V., to 1647 by M.
Two states : 2d state shown. Scwall Coll.
REMBRANDT'S ETCHINGS. 45
M. thinks that the work on the 1st state of this abandoned plate is
by R., and that possibly the additional work in the 2d state is by an
assistant. Mr. Ilaclen opines ("Monograph," p. 31) that R. only laid
in the subject, as shown in the unfinished part, and that Bol was
charged with finishing it. In accordance with his theory, that R. ceased
to avail himself of pupil work in his etchings about 1639, he assigns
this plate to an earlier period than either V. or M.
253. Rembrandt, drawing at a window. Bl 235 ;
B 22 ; W 22; M 1 60; Du 22. Signed : Rembrandt f.
Dated 1648.
Seven states ; two shown :
(a.) 2d state. Shown in photogr. From Bl.'s R.
(.) 6th state. Sewall Coll.
M.'s description of the states of this plate is most unsatisfactory. Bl.
describes ten states, of which the examples shown seem to be respec-
tively the 6th and Qth. M. thinks that the variations after his 3d state
are not by R.
254. Two Beggars, a man and a woman. Bl 145 ;
B 183; W 180 ; M 13; Du 179. Assigned to about
1648 by V. ; to 1629 by M.
One ^tate only. Shown in photogravure From BL's R.
255. Sketches of Two Beggars. Bl 147 ; B 182 ;
W 179 ; M u ; Du 178. Assigned to about 1648 by V.,
to 1629 by M.
One state only. Shown in photogravure. From Bl.'s R.
256. A Sick Beggar and his Wife. Bl 148; B
185; W 182; Du 181. Assigned to about 1648 by V.,
rejected by M.
One state only. Shown in photogravure. From jB/.'s R.
257. The Fat Beggar. Bl 149; B 184; W 181 ;
Mg; Du 180. Assigned to about 1648 by V., to 1629
by M.
One state only. Shown in photogravure. From BIS sR.
46 FIRST PRINT ROOM.
258. A Beggar, in a cloak, standing, a woman in the
distance. Bl 150 ; M 8 ; Du 182. Assigned to about
1648 by V., to 1629 by M.
One state only. Shown in photogravure. From Bite R.
259. St. Jerome, reading. Bl 75; B 104; W 109;
M 234 ; Du 107. Assigned to 1650 by V., to 1653 by M.
Two states ; 2d state shown :
(a.) Early impression on dark paper. Sewall Coll.
(.) Somewhat later impression washed here and
and there with India ink. Gray Coll.
This piece is usually said to be " in the manner of Diirer." Mr.
Haden affirms that it is from a drawing by Titian, " differing in nothing
from the etching except in the absence of the lion, and the presence of
a recumbent figure of Venus in place of the saint." V. has it that " the
landscape is quite in the style of the view of Ransdorp, Bl. 319 [No. 264
of this catalogue], of which we here see also the tower."
260. Jesus Appearing to His Disciples. Bl 64;
B 89; W 94; M 225; Du 96. Signed Rembrandt, f.
Dated 1650.
One state only. Sewall Coll.
261. The Shell. Bl 353; B 159 ; W 156; M 290;
Du 155. Signed: Rembrandt./. Dated 1650.
Two states : 2d state shown. Sewall Coll.
262. A Young Man, with a game pouch. Bl 253 ;
B 258 ; W 259 ; Du 274. Dated 1650.
One state only. Shown in photogr. from Bl?s R.
Rejected by M., and generally doubted by the other cataloguers. The
date upon the plate certainly is not by R.
263. The Three Cottages. Bl 318; B 217; W
214; M 325; Du 214. Signed: Rembrandt f. Dated
1650.
Three states; 2d state. Gray Coll.
REMBRANDT'S ETCHINGS. 47
264. Landscape, with a square tower. 61319; B
218; W 215; M 321; 011215. Signed: Rembrandt, f.
Dated 1650.
Four states ; 4th state shown. Gray Coll.
According to V., this is a view in Ransdorp. See No. 259.
265. The Canal with the Swans. Bl 335; B
235 ; W 232; M 322 ; Du 232. Signed: Rembrandt f.
Dated 1650.
Two states ; 2d state shown. Sewall Coll.
266. Landscape, with a large boat. Bl 336 ; B 236;
W 233 ; M 323 ; Du 233. Signed: Rembrandt./. 1650.
Two states ; 2d state shown. Sewall Coll.
Nos. 265 and 266, as the exhibition shows, form in reality the two
halves of a little panorama.
267. The Hunter. 61314; 6211 ; W 208; M 329;
Du 208. Assigned to 1650 by V., to 1653 by M.
Two states ; 2d state shown. Sewall Coll.
Mr. Haden is of opinion that the motive for the background in
this plate, as in several other plates, was appropriated by R. from some
design by Titian or Campagnola.
268. Landscape, with a ruined tower. 61324; B
223; W22o; M3iy; Du 220. Assigned to 1650 by V.,
to 1648 by M.
Four states ; ist state shown. Sewall Colt.
According to V., this is a view of the village of Loenen. In later
and more frequent states, the tower appears in a ruined condition,
hence the name of the piece. The impression shown, it will be ob-
served, has been cut on the right side, and then joined together again,
but the pieces seem to be printed on paper of different quality. Curi-
ously enough, the impression from which Bl.'s reproduction was made
has evidently been cut and joined together again in precisely the same
place.
48 FIRST PRINT ROOM.
269. Christ Healing the Sick. (The Hundred
Guilders Piece.) Bl 49 ; B 74 ; W 78 ; M 224 ; Du 77.
Assigned to about 1650 by V., to 1649 by M.
Two states ; ad state shown :
(a.) Impression slightly washed with India ink.
Sewall Coll.
(.) Later impression ? Gray Coll.
(c.') Very late impression, from the rusted plate.
Gray Coll.
According to Mr. Haden (" Monograph," p. 35), fine impressions
from this celebrated plate in the 2d state are preferable to those in the
1st state. There is a remarkable difference in the measurements given
of this plate. All measurements of prints must necessarily be approxi-
mate only, as the stretching of the dampened paper and its shrinkage
upon drying are beyond control or calculation. Differences of one cen-
timetre, however, seem unexplainable. The true approximate measure-
ments, based upon the four impressions here shown, are : - .395 at the
bottom; -.397 at the top; - .277 at the right; -.281 at the left.
Only Bartsch and Claussin, and Dutuit, give measurements corresponding
to these, viz., the two former (ignoring the difference between top and
bottom and right and left) 14 p., 81. in breadth, IO p. 5 1. in height;
the latter - .396 by 281. W. gives 15.20 inches at bottom, 15.30 at
top, 10.90 for height; M. - .385 by - .279; Bl. - .387 by - .281.
269 A. Christ Healing the Sick, as retouched by
Capt. Wm. Baillie.
(<7.) The whole plate. Sewall Coll.
(b.) The central group. Square top. Sewall Coll.
(c.} Upper left hand group. Sewall Coll.
(d.) Lower left hand group. Sewall Coll.
(e. ) Right hand group. Sewall Coll.
(/.) The central group. Arched top. Seivall Coll.
269 B. Christ Healing the Sick. Copies.
(, clearly show that it is an
elderly man with wrinkled brow and heavy beard.
292. The Entombment. Bl 61 ; B 86; W 91;
M 233 ; Du 93. Assigned to 1654 by V., to 1652 by M.
Four states ; 3d state shown. Sewall Coll.
The impression exhibited has in parts been washed with India ink.
The 4th state, M. thinks, is not due to R.
293. Jesus and the Disciples at Emmaus. Bl
63 ; B 87 ; W 92 ; M 237 ; Du 94. Signed : Rembrandt./.
Dated 1654.
Two states ; both shown :
(a.) ist state in photogravure. From Bl.'s R.
(b.) 2d state. Scivall Coll.
294. The Kolf Players. Bl 97; B 125; W 129;
M 294; Du 126. Signed: Rembrandt f. Dated 1654.
Two states ; both shown :
(a.) ist state. Sewall Coll.
(b.) 2d state. Sewall Coll.
295. Portrait of Titus, R.'s Son. Bl 236; B n;
W ii ; M 165; Du ii. Assigned to about 1652 to 1654
by V., to 1652 by M.
One state only. Shown in photogravure.
From BL's R,
54 SECOND PRINT ROOM.
296. Four Plates for a Spanish Book (i. e.
Menasseh- Ben-Israel's " Piedra gloriosa "). Bl 8 ; B 36 ;
W 40; M 247; Du 47. Signed: Rembrandt, f. Dated 1655.
A. The Image -which Nebuchadnezzar saw.
Five states ; 5th state shown. Sewall ColL
B. Ezekiefs Vision,
Three states; 3d state shown.
(a.) Impression on paper. Sewall Coll.
(b. ) Impression on vellum. Sewall Coll.
c. Jacob's Ladder.
Three states ; 2d state shown. Sewall Coll.
D. David and Goliath.
Three states ; 3d state shown. Sewall Coll.
297. The Agony in the Garden. Bl 50; B 75 ;
W 79 ; M 251 ; Du 82. Signed: Rembrandt, f. Dated
165 . Assigned to 1655 by V., to 1657 by M.
One state only. Sewall ColL
The last figure is wanting in the date.
298. Abraham's Sacrifice. Bl 6; B 35; W 39;
M 246; Du 40. Signed: Rembrandt f. Dated 1655.
One state only. Sewall Coll.
Mr. Haden makes Gerbrand van den Eeckhout the author of this
composition.
299. Christ presented to the People. Bl 51;
B 76 W 80; M 248; Du 83. Signed and dated in the
6th state : Rembrandt f. 1655.
Seven states ; three shown :
(a.) i st state. Flameng's copy. Sewall Coll.
(If.) 3d state. Seuiall Coll.
(f.) 7th state. Sewall Coll.
M. opines that the variations after the 4th state are not by R., an
opinion evidently not shared by Bl. A remote resemblance in the gen-
eral ordering of the plate to Lucas van Leyden's engraving of the same
scene, has caused it to be spoken of as " in the manner of Lucas van
Leyden." The small autotype of Lucas's composition, placed alongside
of R.'s etching, or rather dry-point, will enable the visitor to form an
independent judgment of this charge of plagiarism.
REMBRANDT'S ETCHINGS, 55
300. The Three Crosses. Bl 53; 78; W8i; M
235 ; Du 85. Signed and dated in the 3d and later states :
Rembrandt./. 1655.
Five states ; two shown :
(a.) 3d state in photogravure. From JBl.'s R.
(/;.) 4th state. With a margin. Edw. W. Hooper,
(c.) 4th state. On brownish paper. Seivall Coll.
Impression b is shown framed on a stand on the table. M. and
others read the date 1653, but the line which apparently makes a 3
of the second 5 is evidently part of a shading line in the foreground.
It is well known that the theories and differences of opinion called forth
by this plate are of the most extraordinary kind, and students will not
fail, therefore, to read what has been said about it by Hamerton, Blanc,
Haden (" Monograph," pp. 37 and 51), and others.
301. The Little Goldsmith. Bl 9456 123 ; W 127;
M 295 ; Du 124. Signed : Rembrandt f. Dated 1655.
One state only. (Two impressions shown.) Sewall Coll.
V., overlooking the name and date, which are almost illegible, assigns
this plate to 1654.
302. Portrait of Thomas Jacobsz. Haring.
(Young Haring.) Bl 179; B 275 ; W 277 ; M 169 ; Du
262. Signed: Rembrandt./. Dated 1655.
Five states ; three shown :
(a.) ist state, in photogravure. From Bl?s R.
(b.) 2 d state. Sewall Coll.
(f.) 4th state. Gray Coll.
M. doubts whether the 2d state is by R., and ascribes all later states
to other hands.
303. Portrait of Jacob Haring. (Old Haring.)
Bl 178; 6274; W 276 ; M 168 ; Du 261. Assigned to
1655 by V. and by M.
One state only ? Sewall Coll.
W. and Bl. describe three states. The impression exhibited, which is
on vellum (or on pig-skin?), shows certain peculiarities which seem to
distinguish it from these states, and place it between the 2cl and 3d.
Notice especially the absence of the harsh dry-point lines in the face
and hair. The frequent occurrence of impressions on vellum about
this time is worthy of remark. One of the plates for a Spanish book
is printed on it (1655), and it was used for some of the earlier states
of the Three Crosses. See also next number.
$6 SECOND PRINT ROOM.
304. Portrait of Abraham Francen. (Frans,
Fransz). Bl 176 ; B 273 ; W 275 ; M 172 ; Du 260. As-
signed to probably 1655, certainly not before 1654, by V.,
to 1656 by M.
Ten states ; three shown :
(a.) 4th state. On vellum (or pig-skin ?). Gray Coll.
(b.) 8th state. Sewall Coll.
(f.) icth state. Sewall Coll.
M. thinks that after the 4th state, the plate was worked upon by
other hands.
305. Abraham Entertaining the Angels. Bl 2 ;
629; W 36; M 250; Du 36. Signed: Rembrandt./.
Dated 1656.
One state only. Sewall Coll.
306. Portrait of John Lutma, the Elder. Bl 182 ;
B 276; W 278 ; M 171 ; Du 265. Signed and dated in
2d state : Rembrandt./. 1656. M. places the ist state a
year earlier.
Three states ; two shown :
(a.) ist state in photogravure. M. of F. A.
(b.) 2d state. Sewall Coll.
M. thinks that the additions in the 2d state are not by R., for which
opinion he is taken to task by Mr. Haden (" Monograph," p. 51).
307. Portrait of Dr. Arnoldus Tholinx. (Pieter
vanTol; the Advocate Tolling.) Bl 188 ; B 284 ; W
286; M 170; Du 270. Assigned to between 1654 and
1656 by V., to 1655 by M.
Two states ; 2d state shown in photogr. From Bl.'s R.
308. St. Francis Praying. Bl 78 ; B 107 ; W 1 12 ;
M 252 ; Du 109. Signed : Rembrandt./. Dated 1657.
Two states ; 2d state shown. Sewall Coll.
This is one of the prints for which, according to Mr. I laden, R.
adopted a background from some design by Titian or Campagnola. A
remarkably fine impression, treated almost like a monotype in the wip-
ing, is in the collection of Mr. Theodore Irwin, of Oswego, N. Y.
REMBRANDT'S ETCHINGS. 57
309. The Presentation in the Temple. A dark
print. 131 23 ; B 50 ; W 55 ; M 243 ; Du 55. Assigned
to between 1656 and 1658 by V., to 1654 by M.
One state only. Sewall Coll.
310. Jesus and the Samaritan Woman. Arched.
El 45 ; B 70; W 74; M 253; Du 72. Signed and
dated in 3d state : Rembrandt / 1658.
Three states; 3d state shown. Sewall ColL
M. believes the 3d state to show work by a later hand.
311. The Woman at the Stove. Bl 161 ; B 197 ;
W 194 ; M 299 ; Du 194. Signed : Rembrandt f. Dated
1658.
Six states ; three shown :
(a.) ad state in photogravure. From HL's R.
(b.) 3d state. Sewall Coll.
(V.) 6th state. Sewall Coll.
It has been suggested that the model which served for this and the
succeeding studies of women was R.'s second wife (?), Hendrickie
Jaghers or Stoffels. See, however, V., " Rembrandt," p. 358.
312. The Bather. Bl 163 ; B 199 ; W 196 ; M 298 ;
Du 196. Signed: Rembrandt. f. Dated 1658.
Two states ; 2d state shown. Sewall ColL
313. A Woman with her feet in the water. Bl 164;
B 200; Wi97; M 297; Du 197. Signed: Rembrandt f.
Dated 1658.
One state only. Sewall Coll.
314. A Woman lying on a couch. (The Negress.)
Bl 169; B 205 ; W 202; M 300: Du 202. Signed:
Rembrandt, f. Dated 1658.
Three states; 3d state shown. Sewall Coll.
315. Antiope and Jupiter. Bl 167; B 203; W
200 ; M 301 ; Du 200. Signed : Rembrandt, f. Dated
1659.
Two states ; ist state shown. Sewall Coll.
58 SECOND PRINT ROOM.
316. St= Peter Healing the Cripple. (St. Peter and
St. John at the Gate of the Temple.) Bl 66; B 94 ; W
98; M 254; Du 97. Signed: Rembrandt/. Dated
1659.
Four states ; (?) state shown. Seivall Coll.
It is impossible, from the confused and insufficient descriptions, to
make out the states of this plate. The impression shown is certainly of
a later state. The wonder is that the plate is not among those classed
as doubtful by the cataloguers. It is one of the worst with which R.'s
name is connected. Note, for only one thing, the figure of St. John,
muffled up in a cloak like the traditional Italian brigand of the stage,
posed in an awkward contortion, and drawn like a bundle of clothing,
without any feeling for the human figure.
317. The Landscape with the Palisades. Bl
343 ; B 247 ; W 243 ; Du 244. Dated 1659. Rejected
by M. and doubted by others.
One state only. Shown in photogravure. From B/.'s K.
318. The Woman with the Arrow. Bl 166;
B 202 ; W 199 ; M 302 ; Du 199. Signed : Rembradt f.
(no n). Dated 1661.
Three, states (?) ; 2d (?) state shown. Sewall Coll.
The tinting observable in the impression shown is due to ink left
upon the plate in printing. Bl. and B. describe only one state, W.
describes two, M. reduces W.'s states to the rank of 2d and 30), and
describes a new ist. This is, however, as he himself says, " a trial proof."
The only difference between it and his 2d state consists in the deepen-
ing of a shadow. It is clear, therefore, that it is not " a state " at all.
M. thinks that this was the last plate etched by R.
319. Portrait of Coppenol. (The Large Coppenol.)
- Bl 175 ; B 283 ; W 285 ; M 174 ; Du 258. Assigned to
1661 by V., to 1658 by M.
Six states ; two shown :
(a.) 3d state. Gray Coll.
(.) 6th state. Sewall ColL
See No. 77 of this catalogue.
REMBRANDT'S ETCHINGS. 59
THE FOLLOWING PIECES ARE LEFT UNCLASSIFIED BY
V. (CASES 9, n, AND 13, 15.)
320. Three Profiles of Old Men. Bl 303 ; B 374 ;
W 368 ; M 12 ; Du 362. Assigned by M. to 1629.
One state only. Shown in photogravure. From Bl's JR.
321. An Old Woman in a veil. Bl 243; B 358;
W 352 ; M 68 ; Du 346. Assigned by M. to 1631.
Two states ; 2d state shown. Sewall Co//.
322. A Man Grimacing. Bl 263 ; B 308 ; W 309 ;
M 60 ; Du 304. Assigned by M. to 1631.
Three states; 2d state shown. Sewall Col!.
All but the ist state probably retouched by a later hand, according
to M.
323. Head of a Man, small, with a grotesque hat.
(Slave with a High Hat.) Bl 296 ; B 302 ; W 302 ;
M 8 1 ; Du 298. Assigned by M. to 1631,
Two states ; 2d state shown. Sewall Col/.
324. An Old Man, with white beard, and fur cap.
61278; B3i2;W3i3; M 64 ; Du3o8. Assigned by M.
to 1631.
Two states ; 2d state shown. Sewall Coll.
325. An Old Man, with head bowed down. Bl 300 ;
6296; W 296; M 95; Du 292. Assigned by M. to
1632.
One state only. Sewall Coll.
326. An Elderly Man, with his underlip thrust out.
Bl 259 ; B 305 ; W 305 ; M 119 ; Du 301. Assigned to
1635 by M.
Two states ; ist state shown. Sewall Coll.
V. thinks this piece " very doubtful."
60 SECOND PRINT ROOM.
327. The Large Tree beside the House. Morn-
ing effect. Bl 310; B 207 ; W 204; M 303; Du 204.
Assigned by M. to 1640.
One state only. Shown in photogravure. From Bl?s R.
328. The Draughtsman. Bl 100 ; B 130 ; W 133 ;
M 270; Du 130. Assigned by M. to 1641.
Two states; ist state shown. Sewall Coll,
329. An Old Woman Reading. Bl 248 ; B 362 ;
W 356 ; M 149 ; Du 350. Assigned by M. to 1641.
One state only. Shown in photogravure. From BL's R.
330. A Young Man, wearing a hat. Bl 256 ; B 330 ;
W 327 ; M 163 ; Du 322. Assigned by M. to 1651.
One state only. Shown in photogravure. From l. J s R.
331. Sketches of a horse, a grove, etc. Bl 348 ; B
364 ; W 358 ; M 166 ; Du 352. Assigned by M. to 1652,
One state only. Shown in photogravure. From Bl?s R.
332. An Elderly Man, wearing a cap with earflaps.
Bl 295 ; B 323 ; W 321 ; Du 316. Rejected by M.
One state only. Shown in photogravure. From Bl.'s R.
333. An Old Man, with a pointed beard. Bl 306 ;
W 334. Rejected by M.
One state only. Not procurable .
Although Bl. describes this piece, he nevertheless also rejects it.
334. Head of a Man, with curly hair. Bl 307 ; W
336. Rejected by M.
One state only. Not procurable.
This again Bl. describes, but nevertheless rejects.
335. The Landscape with the Little Man. Bl
339 ; B 239; W 237 ; Du 237. Rejected by M.
One state only. Not procurable.
Rejected by Bl. also, although he describes it.
REMBRANDT'S ETCHINGS. 6 1
336. A Landscape, with a fisherman in a boat. Bl
341 ; B 243 ; W 239 ; Du 240. Rejected by M.
One state only. Shown in photogravure. FromBl.'s R.
337. The Village Street. Bl 347 ; B 254 ; W 250 ;
Du 251. Rejected by M.
One state only. Shown in photogravure, from Bl?s R,
Bl. is inclined to think that this is the work of a child, perhaps of
Titus.
338. An Old Man, in a cap. Bl 304.
One state only. Shown in photogravure. From BL*s R.
Described by Bl. only, and doubted by him.
339. An Old Man, in a fur cap. 61305.
One state only. Shown in photogravure. From BL's R.
Like No. 338, described by Bl. only, and doubted by him.
THE FOLLOWING PIECES ARE EITHER EXPLICITLY
REJECTED BY V., OR TACITLY OMITTED BY HIM.
(CASES 17, 19.)
340. Rembrandt. Bl 230 ; B 338 ; W 30 ; M 7 ; Du
30. Monogram apparently RHL. Dated 1629. The
whole reversed.
One state only. Shown in photogravure. From Bl.'s R.
341. A Philosopher with an hour-glass. Bl 113;
B 318; W 318 ; M 15 ; Du3i3. R H 1630, said to be on
2d state.
Two (or three ?) states ; (?) state shown. Sewall Coll.
The impression shown does not agree with any of the descriptions
of states, neither do the reproductions given by Bl. and by Du. As
this is evidently surface printing, i. e., printing from a relief block cut
either on wood or on metal, some queer " plugging " must have been
done for the pleasure of manufacturing the various states described.
62 SECOND PRINT ROOM.
342. The Onion Woman. Bl 102 ; B 134 ; M 66 ;
Du 133. Marked in 2d state : Rt 1631.
Two states ; 2d state shown. Sewall Coll.
M. does " not hesitate to attribute this print to R." The monogram
and date have little of the character of those seen on undoubted
works.
343. A Young Man wearing a cap. Bl 297 ; B 322 ;
W 320 ; M 46 ; Du 315. Marked in ist state : RH 1631.
Two states ; 2d state shown in photogr. From HL's R.
344. An Old Man with square beard and high fore-
head. Bl 279 ; B 314; W3i5 ; M 59 ; Du3io. Assigned
by M. to 1631.
Two states ; 2d state shown in photogr. From Bl.'s R.
345. An Elderly Man with a bushy beard. Bl 277 ;
B 297 ; W 297 ; M 61 ; Du 293. Monogram apparently
RH. Dated 1631.
Three states ; 2d state shown in photogr. From Bl.'s R.
346. Rembrandt's Mother in widow's dress. Bl.
197 ; B 344 ; W 340 ; M 92 ; Du 333. Signed : Rembrandt./.
Assigned by M to 1632.
One state only. Sewall Coll.
347. Jacob Lamenting the Supposed Death of
Joseph. Bl 10; B 38 ; W 42 ; M 189; Du 42. R em-
brant (no d) van Rijnft. Assigned to 1633 by M.
One state only. Sewall Coll.
M. thinks this plate may possibly be by Van Vliet. The signature
is certainly peculiar. " It only occurs once again in these etchings,"
says M., " . . . the larger Resurrection of Lazarus." This, however,
is not strictly true, as the comparison will show. See No. 69 of this
catalogue.
348. Two Travelling Peasants. Bl 1 10 ; B 144 ;
W 144; M 104; Du 142. Assigned by M. to 1634.
One state only. Sewall Coll.
REMBRANDFS ETCHINGS. 63
349. Philosopher in Meditation. Bl 112; B 148;
W 146 ; M 276 ; Du 144. Assigned by, M. to 1642.
Five states ; 3d state shown. Sewall Coll.
There is a pretty close copy of this print in the Sewall Collection.
No copies are mentioned by M.
350. Female Peasant holding a jug. Bl 144;
B 181 ; W 178 ; Du 177. Attributed to Lievens by M.
One state only. Shown in photogravure. From Bl's R.
351. Male Peasant with a basket by his side. Bl
143 ; B 180 ; W 177 ; Du 176. Attributed to Lievens by
M.
One state only. Sewall Coll.
352. A Young Woman, reading. Bl 247 ; B 361 ;
W 355 ; Du 349. Rejected by M.
One state only. Not procurable.
Rejected also by Bl., although he describes it.
353. A Young Man in a turned-up hat. Bl 254 ; B
329; W 326 ; Du 321. Rejected by M.
Two states ; 2d state shown in photogr. From Bl.'s R.
354. The Big Tree. Bl 340; B 241 ; W 238 ; Du
238. Rejected by M.
One state only. Shown in photogravure. From Bl?s R.
355. A Cottage with a Barn filled with Hay.
Bl 344; B 248 ; W 244; Du 245. Rejected by M.
One state only. Shown in photogravure. From Bl.'s R.
356. The Mother of Rembrandt. Bl 194 ; B 353 ;
Du 342.
States (?). Net procurable.
This plate is described by the older cataloguers, and after them by
some of the later. No impressions, however, can now be found, and it
is a question whether the plate ever existed. This is only one of several
similar cases.
64 SECOND PRINT ROOM.
357. Portrait of Jan Six. Bl 185.
Two states (?). 2d (?) state, shown in photogravure.
From Bi:s A'.
Described only by Bl.
358. The Nail Cutter. (Bathseba.) B 127.
One state only. Sewall Coll.
Described only by B. Rejected by all later writers.
359. Cupid, B 132.
One state only. Sew all Coll.
Described only by B. Rejected by all later writers.
360. The Hour of Death. B 108.
Two states ; 2d state shown. Gray Coll.
Attributed to Ferdinand Bol by all later writers.
361. The Pen Cutter. Daulby 361.
States (?). Sewall Coll.
This piece is attributed to R. by Daulby, but rejected by all other
writers.
ETCHINGS, ENGRAVINGS, ETC,
EXECUTED FROM PAINTINGS AND SKETCHES BY REM-
BRANDT. (CASES 30-39, 20-25, AND 2 7-)
The following etchings, etc., are arranged chonologi-
cally, in the order of the years in which R. executed, or is
supposed to have executed, the originals which they trans-
late. It has been impossible, however, to exhibit them in
the order of the catalogue, owing to considerations of size,
etc. For this reason the case number is given after each
title, which will enable the visitor to find any given number
without difficulty. Cases 3O a to 39 are in the southern half
ofjhe room, cases 20 to 25, and 27 jn the northern half.
ETCHINGS, ETC., AFTER REMBRANDT. 65
362. St. Paul in Prison. (Case 20.) Dated 1627.
Museum at Stuttgart. Etched by N. Baldinger.
S. R. Koehler.
The earliest known dated picture by R. Compare No. 54 of this cat-
alogue.
363. The Money Changer. (Case 20.) Dated
1627. Berlin, Gallery. Etched by Wm. Unger.
S. R. Koehler.
Not catalogued by V. See Dr. W. Bode, " Rembrandt's friiheste
Thatigkeit," in " Graphische Kiinste," Vol. Ill, p. 49 et seq.
364. St. Jerome in a Grotto. (Case 20.) As-
signed to about 1629 to 1630 by V. Berlin, Gallery.
Etched by J. J. Van Vliet in 1631. (Shown in photo-
gravure.) S. R. Koehler.
365. Hermit (or Loth?) in a Grotto. (Anchises
at the burning of Troy.) (Case 20.) Dated 1630.
Cesar Collection (in Schmidt's time). Etched by G. F.
Schmidt. Gray Coll
366. Portrait of an Old Man. (Case 20.) Dated
1630. Cassel Gallery. Etched by Wm. Unger.
S. R. Koehler.
367. The Entombment of Christ. (Case 20.)
Dated 1630. British Museum. Heliotype.
S. R. Koehler.
See No. 69 of this catalogue.
368. Loth and his Daughters. (Case 20.) Dated
1631. Etched by J. J. Van Vliet. (Shown in photogra-
vure.) S. R. Koehler.
See the original etching under No. 432.
66 SECOND PRINT ROOM.
369. Loth and his Daughters. (Case 20.) As-
signed to about 1631 by V. Collection of Prince Henry
of Prussia (in Schmidt's time). Etched by G. F.
Schmidt. Gray Coll.
370. The Baptism of the Eunuch. (Case 21.) -
Assigned to about 1631 by V. Etched by J. J. Van
Vliet in 1631. (Shown in photogravure.) S. R. Koehler.
371. Holy Family. (Case 21.) Dated 1631.-
Munich, Pinakothek. Etched by P. Halm. S. R. Koehler.
Not catalogued by V. See Dr. W. Bode, as under No. 363.
372. Dr. Nicolas Tulp's Anatomical Lecture.
(Case 30.) Dated 1632. The Hague, Museum.
Etched by J. P. de Frey. Gray Coll.
372A. The Same. (Case 21.) Etched by Wm.
Unger. S. R. Koehler.
373. Maurits Huygens, Secretary of the Council
of State. (Case 21.) Dated 1632. Hamburg, Wessel-
hoeft Collection. Etched by W. Hecht. S. R. Koehler.
374. Study of the Head of an Old Man. (Case
38.) Dated 1632. Oldenburg, Gallery. Etched by
L. Kiihn. S. R. Koehler.
Not catalogued by V. See Dr. W. Bode, " Bilderlese aus kleineren
Gemaldesammlungen," Vienna: 1885, etc.
375. Portrait of a Young Dutch Woman. (Case
21.) Dated 1632. Vienna, Academical Gallery.
Etched by Wm. Unger. S. R. Koehler.
Not catalogued by V. See "Zeitschrift fur bildende Kunst," Vol.
XIII, p. 224.
376. Philosopher in Contemplation. (Case 30.)
h.itecl 1633. Paris, Louvre. Engraved by Caronni
and Longhi. Gray Coll.
E T( V//. \ v , .s, I: I < . / / / 7- /, /,' KM n RAND T. 6?
377. Philosopher in Meditation, (Case 31.)-
Dated 1633. Paris, Louvre. Engraved by Cozzi and
Longhi. Gray Coll.
378. Man Studying. (Case 21.) Dated 1633.
Brunswick, Gallery. Etched by Wm. Unger.
S. R. Koehler.
l)r. W. Bode, "/ettschrift fur bildcnde Kunst," Vol. V, p. 175, reads
ili<- date, which is injured, 1633. V. assigns the picture to about 1645.
379. Saskia Smiling. (Rembrandt's Daughter.)
(Case 31.) Dated 1633. Dresden, Gallery. Lithogr.
by Hanfstangl. Gray Coll.
It is hardly necessary to say that the second title is erroneous. In
1633 R. was himself only twenty-six years old.
380. Portrait of a Gentleman. (Borgomastro
Olandese ) (Case 32.) Dated 1633. Casa Mamfrini
(in 1811). Engraved by G. Longhi. Gray Coll.
381. Saskia, R.'s Wife. (Case 21.) Dated 1633.
Berlin, Print Cabinet. Etched by Wm. Unger.
S. A 1 . Koehler.
Silverpoint drawing on parchment. See about the curious discrep-
ancy in the date, V., " Rembrandt," 2d ed., pp. 132 and 133, and
"American Art Review," Vol. II, Div. 2, pp. 112-114.
382. The Shipbuilder and His Wife. (Case 32.)
Dated 1633, Buckingham Palace. Mezzot. by C.
H. Hodges. Sewall Coll.
383. Portrait of an Old Lady. (Case 21.) Dated
1634. London, National Gallery. Etched by Paul
Rajon. S. . Koehler.
384. Rembrandt. (Count Horn.) (Case 21.)-
Dated 1634. Florence, Pitti Palace. Etched by G. F.
Schmidt. Gray Coll.
See No. 471.
68 SECOND PRINT ROOM.
385. Young Lady with Flowers. (Saskia ) (Case
22.) Dated 1634. St. Petersburg, Hermitage.
Etched by N. Massaloff. S. R. Koehler.
386. Samson Threatening his Father-in-Law.
(Uuke Adolphus of Guelders threatening his father.)
(Case 22.) Date read 1635 by V. Berlin, Gallery.
Etched by G. F. Schmidt. Gray Coll.
387. Tobias and His Wife. (Case 22.) As-
signed to about 1635 to I ^4 by V. Etched by G. F.
Schmidt. Gray Coll.
388. A Warrior (Officer). (Case 33.) Dated
1635. Cambridge, Fitz-William College. Mezzot. by
\Vm. Pether. Gray Coll.
389. Repose During the Flight to Egypt. (Case
22.) Assigned to about 1635 to ^36 by V. Berlin,
Gallery. Etched by Leopold Flameng. S. R. Koehler.
390. Winter Landscape. (Case 22.) Assigned
to 1636 by V. Cassel, Gallery. Etched by Wm. lin-
ger. S. R. Koehler.
Signature and date forged, according to V., who, however, accepts
the picture, and assigns it as stated.
391. Rembrandt and Saskia. (Case 2 2.) Dated
1638. Dresden, Gallery. Etched by H. Blirkner.
S. R. Koehler.
392. The Marriage Feast of Samson. (The
Feast of Ahasuerus.) (Case 34.) Dated 1638. Dres-
den, Gallery. Lithograph by Hanfstangl. Gray Coll.
393. Portrait of a Gentleman. (Burgomaster Six.)
- (Case 22.) Dated 1639. Cassel, Gallery. Etched
by Wm. Unger. S. R. Koehler.
It is self-evident that the second title is erroneous. Compare No.
243-
ETCHINGS, ETC., AFTER REMBRANDT. 69
394. Portrait of the Artist Doomer (?). (The
Gilder.) (Case 22.) Dated 1640. Wm. Schaus, New
York. Etched by Leopold Flameng. S. R. Koehler.
V. points out that the traditional title, " Le Doreur," is probably a
corruption, or misreading, of the name of the person represented.
395. Portrait of a Lady. (Case 22.) About i64o(?).
Budapest, Gallery. Etched by L. Michalek.
S. R. Kcehler.
Not catalogued by V. See Tschudy and Pulsky, " Landes-
Gemalde-Gallerie in Budapest," Vienna, 18.^3 and 1886, Part II,
p. 9.
396. Manoah's Sacrifice. (Case 34.) Dated 1641.
Dresden, Gallery. Engraved by Jacob Houbraken.
Sewall Col/.
397. The Jewish Bride. (Saskia.) (Case 23.)
Dated 1641. Vienna, Coll. of Count Lanckoroncki.
Etched by G. F. Schmidt. Gray Co!!.
Schmidt's etching is reversed. This picture has been doubted. See
Dr. W. Bode, in " Mittheilungen der Gesellschaft fiir vervielfaltigende
Kunst," Vienna, Vol. Ill, No. 3, May 15, 1875, pp. 38 and 39. Also
' American Art Review," Vol. II, Div. 2, p. 114.
397 A. The Same. (Case 23.) Etched by Win.
Unger. S. R. Koehler.
398. Banning Cock's Company Sallying Forth
to Shoot. (The Nightwatch.) (Case 33.) Dated
1642. Amsterdam, Museum, Etched by Leopold Flam-
eng. Seivall Coll.
399. An Old Man Seated. (Case 37.) Dated
1642. Budapest, Gallery. Etched by Wm. Unger.
S. R. Koehler.
Not catalogued by V. See Tschudy and Pulsky, " Landes-
Gemalde-Gallerie in Budapest," Vienna, 1883 and 1886, Part II, p. 8.
70 SECOND PRINT ROOM.
400. Le Connetable de Bourbon? (Case 23.)
-Dated 1644. Paris, M. Secre'tan (according to
Dutuit). Dry-point by Ch. Kcepping. (Part only of
the picture ?) S. R. Koehler.
401. Eleazar Swalm. (Case 35.) Assigned to
1645 by V. Where? Engraved by Jonas Suyderhoef.
Sewall Coll.
' 402. Portrait of an Elderly Man. (A Jewish
Rabbi.) (Case 23.) Dated 1645. Berlin, Gallery
(from the Suermondt Coll.). Etched by Leopold Flam-
eng. S. R. Koehler.
403. The Descent from the Cross. (The Cruci-
fixion.) (Case 35.) Assigned to about 1645 to 1650 by
V. London, National Gallery. Engraved by J. Burnet.
Sewall Coll.
404. Holy Family. (The family of the Woodchop-
per, or of the Carpenter.) (Case 23.) Dated 1646.
Cassel, Gallery. Etched by Wm. linger. S. R. Koehler.
405. An Aged Rabbi. (Case 38.) Dated 1646.
Where ? Mezzotint by Capt. Wm. Baillie. Gray Coll.
406. Nicolas Berchem. (Case 24.) Dated
1647. Grosvenor House. Engraved by Schiavonetti.
Sewall Coll.
407. Landscape with Ruins. (Case 25.) As-
signed to about 1643 to 1650 by V. Cassel, Gallery.
Etched by Wm. Un^er. S. R. Koehler.
407A. The Student. (Daniel Studying Chaldaic?)
(Case 24.) About 1647 to I ^5? Berlin, Mr. Otto
Pein. Photogravure. S. R. Koehler.
This picture is not mentioned by V., as it has come to light only
lately. Note some of R.'s studio property in it, the sword which occurs
in the " Resurrection of Lazarus " (No. 69), and a chair like that in
"The Death of the Virgin" (No. 164). See Adolph Rosenberg in
"Zeitschrift fur bildende Kunst," Vol. XXII, pp. 163 and 164.
ETCHINGS, ETC., AFTER REMBRANDT. 7 1
408. A Jewish Rabbi. (Framed, on case.)
Dated 1651. London, National Gallery. Etched by
Chas. Waltner. Edward Robinson.
V. is quite explicit in giving the date, but no date is mentioned in
the official catalogue of the National Gallery.
409. Noli me tangere. (Case 25.) Dated 1651.
Brunswick, Gallery. Etched by Wm. Unger.
S. R. Koehter.
410. Portrait of a Lady. (Case 38.) Assigned
to between 1650 and 1654 by V. Paris, Louvre.
Etched by Ch. Koepping. Sewall Coll.
Dr. W. Bode is inclined to assign this picture to 1658. See Dutuit
Supplement, p. 35.
411. An Old Man with a Cane. (Case 24.)
Assigned to 1654 by V. Dresden, Gallery. Etched by
N. Massaloff. S. R. Koehler.
412. The Standard Bearer. (Case 25.) Assigned
to 1655 by V. Cassel, Gallery. Engraved by E. Heine-
man n. S. R. Koehler.
413. The Standard Bearer. (Case 36.) Date?
Where ? Mezzot. by Wm. Pether. Gray Coll.
This picture is placed here, as V. mentions two " Standard Bearers,"
the second in the Collection J. de Rothschild, Paris. The description,
however, does not fit, nor does Pether's mezzotint show R.'s character.
414. Jacob Blessing the Sons of Joseph. (Case
25.) Dated 1656. Cassel, Gallery. Engraved by E.
Heinemann. S. R. Koehler*
415. Mountainous Landscape with a Torrent.
(Case 25.) Assigned to 1656 by V. Brunswick,
Gallery. Etched by Wm. Unger. S. R. Koehler.
72 SECOND PRINT ROOM.
416. Rembrandt. (Case 39.) Assigned to 1658
by V. Vienna, Belvedere. Etched by Wm. Unger.
S. R. Koehler.
417. The Auctioneer. (Thomas Jacobsz. Haring ?)
(Case 25.) Dated 1658. London, Mr. John Wilson.
Etched by Wm. Unger. S. R. Koehler.
418. Rembrandt. (Case 36.) Dated 1659.
Coll. of Lord Carrington (in 1842). Mezzot. by Richard
Earlom. Gray Coll.
419. The Syndics of the Cloth Hall. (Case 25.)
Dated 1661. Amsterdam, Museum. Etched by G. F.
Schmidt. Sewall Coll.
Schmidt's etching is reversed.
4igA. The Same, (Case 25.) Etched by Wm.
Unger. S. R. Koehler.
420. A Family Group. (Rembrandt's Family.)
(Case 27.) Assigned to about 1662 to 1663 by V.
Brunswick, Gallery. Etched by Wm. Unger.
S. R. Koehler.
Again it goes without saying that the second title is quite unwarranted.
W. Burger, " Zeitschrift fur bildende Kunst," Vol. IV, p. 102, assigns the
picture to the period after 1665.
. 421. Lucretia. (Case 39.) Dated 1664. Was in
the San Donate Collection. Etched by Ch. Koepping.
Sewall Coll.
422, Rembrandt. (Case 27.) Assigned to 1668
by V. Florence, Pitti Palace. Etched by J. G. Chap-
man. S. R. Koehler.
423, Jewish Rabbi. (Case 37.) Date ? Where ?
Mezzot. by Wm. Pether. Gray Coll.
424, Sigismond Ragotsky ? (Case 39.) Date ? -
Where ? Mezzot. by Bernard Picart. Sewall Coll.
ETCHINGS BY LASTMAN, ETC. 73
[425. Christ Blessing the Children. National
Gallery, London. From the Suermondt Collection.
Etched by Leopold Flameng. 6*. R. Koehkr.
In the 1st edition of his " Rembrandt," V. assigns this picture to about
1650. In the 2cl edition (p. 285) he rejects it, and names as its prob-
able author either Victor or Eeckhout.]
ETCHINGS
EXECUTED BY ARTISTS BELONGING TO REMBRANDT'S
CIRCLE.
PIETER LASTMAN. (CASE 12.)
Born (at Amsterdam ?) about 1580 to 1584 ; died (in the
same city?) about 1649. Lastman was R.'s last teacher.
See Vosmaer, "Rembrandt," 2d ed., Chap. VIII, and
pp. 472 to 481.
426. Judah and Thamar. Bartsch, Rembr. Cat.,
II, p. 133, No. 74.
Two states; 2d state shown. . Gray Coll.
Possibly only after Lastman. See Vosmser, p. 79.
SALOMON SAVRY. (CASE 12.)
Engraver and etcher, who is said to have worked at
Amsterdam from 1620 to 1650. As early as 1632, in the
year, that is to say, which is marked upon the original, he
copied R.'s " Ratkiller," No. 72 of this catalogue (Vosmaer,
p. 99). Mr. Haden, "Monograph." p. 18, would have it
that he etched also the two plates, Nos. 95 and 96 of this
catalogue, generally believed to be by R. See Andresen,
"Handbuch," I, p. 437.
74 SECOND PRINT ROOM.
427. Cornelis Claesz. Anslo. Copy of R.'s etch-
ing, No. 206 of this catalogue. Attributed to Savry by B.
Sewall Coll.
428. The Good Samaritan. Copy of R.'s etching,
No, 80 of this catalogue. Attributed to Savry by W.
Sewall Coll.
Both these plates are marked S. Savry excud. (cut off in the " Samar-
itan"), but this in reality signifies only that they were published by
him.
SALOMON KONINCK. (CASE 12.)
Bom at Amsterdam 1609, died about 1668. A pupil of
N. Moeijart, who adopted R.'s style. (Not to be con-
founded with Philip de Koninck, one of R.'s own pupils.)
See Vosmasr, pp. 63 and 97 ; Bartsch's Rembr. Cata-
logue, II ; Claussin, Supplement.
429. Bust of an Old Man in Profile. Bartsch,
Rembr. Cat., II, p. 130, 68 ; Claussin, Supplement, p. 132,
75-
One state only. Sewall Coll.
According o B. and to Cl., this plate is signed and dated S. Koninck
Ao. 1628, which does not quite correspond with what is left of the
inscription on the impression shown, viz. : AN 1628. The name has
evidently been cut off. Judging from the date, this plate must have
been executed before K. was influenced by R.
M. RODDERMONDT. (CASE 12.)
(Rodermont, Rodermondt, Rottermondt ; called also
Aegidius Paul, or Paul Aegidius, R.) Dutch painter and
etcher, who is said to have worked about 1640. Mr.
Haden (" Monograph," pp. 17, 18, and 26) would make
him responsible for some of R.'s work.
ETCHINGS BY VAN VLIET. 75
430. Esau selling his Birthright to Jacob. -
Bartsch, Rembr. Cat, II, p. 135, 77 ; Claussin, Suppl.,
P- i3S 8 4-
Two states ; ad state shown. Sewall Coll.
Mr. Haden refers to this plate, " Monograph," p. 18. The false sig-
nature, " Rembrandt," does net occur in the first state.
431. The Suppliant. Bartsch, Rembr. Cat, II,
p. 137, 78 ; Claussin, Suppl., p. 136, 85.
One state only. Sewall Coll.
JAN JORIS VAN VLIET. (CASE 14.)
Born at Delft, in 1610, painter and etcher. "Van Vliet
is especially known," says Vosmaer, p. 99, "by his etch
ings after Rembrandt. He was the first who made it his
aim to reproduce the works of the young master." - See
Bartsch, Rembr. Cat., II; Claussin, Supplement; also Mr.
Haden, " Monograph," pp. 14, 15, 24, 25.
432. Loth and his Daughters. After Rembrandt.
B i ; Cl i . Dated 1631 .
Two states ; 2d state shown. Sewall Coll.
433, Susannah and the Elders. After Jan Lie-
vens. 63: Cl 3.
One state only. Sewall Coll.
The impression shown has been cut, mounted and repaired.
434, Old Woman Reading. After Rembrandt.
B 18; Cl 18.
One state only. Sewall Coll.
435. The Seller of Ratsbane. B 55 ; Cl 55.
One state only. Sewall Coll,
76 SECOND PRINT ROOM.
436, The Beggars, B 73-82 ; Cl 73-82.
One state only. Sewall Coll.
The set here shown lacks two of the full series of ten.
See also Nos. 364 and 370.
FERDINAND BOL. (CASES 16 AND 18.)
Born at Dordrecht towards i6n,but lived in Amsterdam since
childhood; died at Amsterdam, 1 66 1. Rembrandt is named as his only
master. See Vosmser, pp. 138 and 139; Bartsch, Rembr. Cat. II;
Claussin, Supplement; also Mr. Haden, " Monograph," p. 15 and else-
where.
437. The Sacrifice of Abraham. B i ; Cl i.
Two states ; 2d state shown. Sewall Coll.
438. Gideon's Sacrifice. B 2 ; Cl 2.
Three states ; 3d (?) state shown. Sewall Coll.
439. St. Jerome. 63; Cl 3.
One state only. Sewall Coll.
There seems no reason to think that this is not the etching described
by B. and by Cl. Nevertheless it measures only 8 pouces 4 lignes across,
while they agree in making it 9 pouces.
440. The Family. 64; Cl 4. Dated 1649.
One state only. Sewall Coll.
441. An Old Man with a curly beard. B 9 ; Cl
9. Dated 1642.
One state only. Sewall Coll.
Traces only of the signature and date are visible on the impression
shown.
442. Portrait of an Officer. B u ; Cl 12.
One state only. Gray Coll.
443. Portrait of a Man. 612; Cl 13.
One state only. Sewall Coll.
ETCHINGS BY BOL. 77
444. Man Wearing a Large Cap. B 13 ; Cl 14.
Oen state only. Seivall Co/I.
445. The Woman with the Pear. B 14 ; Cl 16.
-Dated 1651.
One state only. Gray Co/I.
446. Portrait of a Lady, in an oval. B 15 ; Cl 17.
Dated 1644.
Two states j 2d state shown. Sewall Co//.
The impression shown is not the original, but the copy made by
Claussin. The original is a trifle larger, and the copper in the 2d state
has been cut to an oval shape.
447. Bust of an Old Man, in an oval. Cl 18.
One state only. Sewall Coll.
448. The Hour of Death. B (under Rembrandt)
108 ; Cl 19.
Exhibited among the pieces eliminated by V. from the list of R.'s
works. See No. 360 of this catalogue, in case 17, 19.
449. Young Man Standing. Signed, and dated
1640.
States (?) . Gray Coll.
Not mentioned in any of the catalogues, and not at all like Bol's
work. The same design has been etched by some one else, and signed
Rembrandt f. 1636. An impression of this version is also shown.
JAN LIEVENS. (CASES 26 AND 28.)
Born at Leyden, 1607. It is generally stated that he died at Ant-
werp in 1663, but in 1672 he was still living, and again in his native
city. Lievens, like R., was a pupil of Lastman, and only a follower of
his greater townsman. About 1634 he was at Antwerp, and later his
style was influenced by Rubens and the Italians. See Vosmser, p. 97,
and elsewhere; Bartsch, Rembr. Cat., II; Claussin, Supplement. For
Mr. Haden's theories concerning Lievens, see " Monograph," p. 16
and elsewhere.
78 SECOND PRINT ROOM.
450. The Virgin and Child. Bl i ; Cl i.
Two states ; ist state shown. Sewall Coll.
This is evidently in L.'s later Italian, or " noble " manner.
451. The Resurrection of Lazarus. 63; Cl .3.
Two states ; ad state shown. Sewall Coll.
452. St. Jerome. B 5; Cl 5.
Three states; 2d state shown. Sewall Coll.
453. An Hermit. (St. Francis.) B 7 ; Cl 7.
Two states ; 2d state shown. Seivall Coll.
454. St. Anthony. B 8 ; Cl 8.
Two states ; 2d state shown. Seivall Coll.
This is an extreme case of the attempted free use of the graver, on a
plate apparently underbitten, often met within L.'s work. R. evidently
used the graver upon his plates in a most skilful manner, and with a
dexterity and freedom that made it harmonize admirably with the work
of the acid and the dry-point. His follower attempts the same thing,
but, lacking the skill, the freedom degenerates into brutality.
455. Oriental Figure. B 12; Cl 12.
Two states ; 2d state shown. Sewall Coll.
In this plate the retouches were etched in, but with as little success
as in the case of the retouches put in with the graver.
456. Bust of an Oriental. B 13 ; Cl 13.
Two states ; 2d state shown. Sewall Co//.
The curious crayon-like texture noticeable in this plate may be due
to shallow biting and lines run together, or in parts, as Mr. Jas. D.
Smillie suggests, to the grinding down of heavily overbitten lines.
457. Bust of an Oriental. B 18 ; Cl 18.
Two states; 2d (?) state shown. Sewall Coll.
Both B. and Cl. say that L.'s initials are to be seen on the left side,
about midway, but they are not to be found in this impression. See
R.'s etching, No. 116 of this catalogue, of which this plate is supposed
to be a reversed copy. See also Mr. Haden's remarks, "Monograph,"
pp. 28 and 29.
ETCHINGS BY LI EVENS. 79
458. Bust of an Old Man. 622; Cl 22.
Two states (?); ist state (?) shown. Sewall Coll.
B. and Cl. describe only one state, with F. van Wyngaerde's address.
As there is no address on this impression, it would seem to be a ist
state. Or is it a copy, since it is numbered 4 in upper right-hand
corner, as if it belonged to a series ?
459. Bust of a Young Man. 626; Cl 26.
One state only. Sewall Coll.
The breadth of the impression shown does not correspond with the
descriptions, but it has evidently been cut. Compare No. 125 of the
present catalogue, of which this is supposed to be a free copy.
460. Bust of a Young Woman. 627; Clay.
One state only. Sewall Coll.
This impression has likewise been cut.
461. Bust of a Young Man. B 39 ; Cl 39.
Two states ; 2d state shown. Sewall Coll.
462. Head of an Old Man. B 46; Cl 46.
One state only. Sewall Coll.
Of L.'s later time, after he had gone to Antwerp? The stippling in
this head reminds one of the similar treatment adopted by Van Dyck.
463. Bust of an Old Man, with large round eyes.
650; Cl 5 o.
Two states; ist state shown. Sewall Coll.
464. Portrait of Ephraim Bonus. B 56 ; Cl 55.
Three states; ist state shown. Sewall Coll.
Finished with free graver work, like the others of L.'s large portraits,
but much more successfully and carefully than the St. Anthony. See
R.'s portrait of Bonus, No. 244 of this catalogue.
465. Portrait of Justus Vondel. B 57 ; Cl 56.
Five states ; 4th state shown. Sewall Coll.
8O SECOND PRINT ROOM.
466. Portrait of Daniel Heinsius. 658; 0157.
One state only. Sewall Cot 7.
467. Portrait of Jacob Gouters. B 59 ; Cl 58.
One state only. Gray ColL
468. Bust of an Old Man, full face. Cl 70.
One state only. Sewall Coll.
The measurements do not agree. Cl. says 9 pouces by 8. The true
measurement (unless this should be a copy, which is not likely) is 10
pouces 2 lignes by 8, from platemark to platemark. See the remarks
about graver work under No. 454.
PAINTINGS.
469. Danae and Jupiter? Signed and/lated 1652.
Francis Brooks.
The title hardly suits the picture. The male figure is Mercury. The
woman to whom he offers the bag cannot be Danae, as the scene
takes place in the open air, while the mother of Perseus was kept by
her father in a subterranean room, through the roof of which Jupiter
entered in the form of a shower of gold. R., however, was evidently not
a strict interpreter of ancient myths. In the etching, No. 33 of this cata-
logue, he introduces the shower of gold and the satyr, thus combining
the two myths of Danae and of Antiope. The picture is not mentioned
by V. See also the remarks in the introduction.
470. Rembrandt ? Date ? Original where ?
Boston Athenaum.
Copy by an unknown artist.
471. Rembrandt. Dated 1634. Original in the
Pitti Palace, Florence. Boston Athenceum.
Copy by an unknown artist. See G. F. Schmidt's etching, reversed,
No. 384 of this catalogue.
FINDING LIST
FOR THE CATALOGUES OF BLANC, BARTSCH, WILSON,
MIDDLETON, AND DUTUIT.
To locate in this exhibition by means of the following
list any of Rembrandt's etchings, according to the num-
bers given to them by Bl, B, W, M, or Du, find the
corresponding number in the first column. The number
on the same line with it, in the column set apart for the
catalogue used, will be the number under which the etch-
ing sought is here catalogued. For instance : the etching
wanted being B 225, find this number in the first column,
then read the number on the same line with it in the col-
umn headed B, which in this case is 211, and under this
number the etching looked for will be found in the present
catalogue. The numbers omitted indicate prints which
are omitted also in this catalogue, because they are not
procurable, and are described by neither V. nor Bl.
Bl
B
W
M
Du
Bl
B
W
M
Du
1.
.156
25
25
128
25
24.
. 6
23
23
26
23
2.
.305
101
101
126
101
25.
. 79
61
61
27
(il
3.
.152
88
88
5
88
26.
.275
161
161
31
161
4.
.157
29
29
75
29
27.
.182
31
31
23
31
5.
.227
SO
30
4
30
28.
.286
156
68
14
68
6.
.298
87
87
3
87
29.
.287
305
27
22
27
7.
.196
59
59
340
59
30
.183
152
340
20
340
8.
.296
102
102
258
102
31.
.228
67
21
67
9.
.158
65
65
257
65
32.
.198
232
123
232
10.
.347
24
24
9
24
33.
.173
157
26
185
26
11.
. 90
295
295
255
295
34.
.288
227
89
12
89
12.
.171
66
66
320
66
35.
.289
298
156
189
156
13.
.278
28
28
254
28
36.
.279
296
305
16
305
14.
.274
63
63
129
63
37.
. 8
158
152
10
152
15.
.273
62
62
341
62
38.
.290
347
227
15
157
16.
.197
60
60
66
60
35>.
.280
90
298
17
227
17
. 91
86
86
87
86
40.
.170
171
296
19
298
18.
.285
104
104
104
41.
. 80
278
158
18
158
19.
.181
149
149
30
149
42.
.108
273
347
29
347
20.
.284
160
160
67
160
43.
.143
197
90
89
90
21.
. 7
167
167
65
167
44.
.107
91
171
63
278
22.
.163
253
253
28
253
45.
.310
285
278
60
273
23.
.309
105
105
24
105
46.
. 92
181
273
343
197
82
FINDING LIST.
47..
48-.
Bl
..214
.. 69
B
284
7
W
274
197
M
68
69
Du
296
171
10O.. .
101....
Bl
.328
.168
B
94
71
W
229
M
88
85
Du
109
199
49..
5O
..269
.297
163
309
91
285
61
109
91
285
1O2....
1O3. ..
.342
. 44
110
216
109
199
121
176
164
94
51..
52 .
..299
..144
6
79
181
984
25
59
181
284
1O4....
1O5....
.209
. 74
259
217
167
94
348
104
71
110
53..
54. .
..300
..174
275
182
7
163
56
57
7
163
106.. .
107 . . .
.. 75
.121
2
308
71
110
101
100
216
259
55..
56...
57..
..118
.81-2
. 215
286
287
183
309
6
79
58
45
46
309
6
79
1O8....
109.. .
no....
.. 37
..138
..348
360
165
24D
216
259
217
97
99
84
217
308
165
58..
. .291
228
275
59
275
Ill ....
..230
83
2
105
249
59..
. 172
189
344
182
112.. .
..349
248
308
95
83
60..
61..
. 70
..292
290
198
286
987
322
345
286
287
113. .
114. . . .
.341
.. 34
201
909
165
949
96
114
248
901
62..
63..
.. 93
..293
173
988
183
908
48
50
183
228
115....
116....
..123
..169
203
904
83
948
151
133
202
203
64 .
. 260
984
<>90
394
198
117....
.. 35
205
201
111
204
65.
.120
279
198
54
173
118. . . .
..122
196
202
55
205
66 .
..316
8
173
349
288
119 . . .
. . 43
119
203
326
196
67.
. 229
980
988
47
289
12O....
..281
218
904
127
119
68
.109
108
989
391
279
121. . . .
..176
72
205
188
218
69..
70..
71..
72..
73..
..199
..164
.. 94
.. 71
..110
107
310
92
214
69
279
8
280
108
107
49
40
34
38
43
8
290
280
310
92
122.. .
123.. .
124.. .
125.. .
126.. .
..184
..128
.. 53
..185
..186
73
301
112
294
247
196
119
218
72
73
115
117
116
125
194
72
73
301
112
294
74..
75 .
..216
..259
269
297
310
99
41
49
170
80
127.. .
128 . .
..187
. . 10
358
200
301
112
148
149
247
200
76.
..217
299
214
53
143
129. ..
.. 9
111
294
150
111
77..
78
.. 1
..308
144
300
69
969
51
36
269
214
13O....
131....
.. 41
. 40
328
281
247
200
155
154
328
281
79..
8O .
..165
..249
174
118
297
999
37
11
<>9
107
132....
133....
.. 42
. . 11
359
168
111
398
153
161
168
349
81..
82..
83..
. 83
..248
..218
81-2
215
991
300
144
81
323
64
135
108
297
299
134....
1351...
136....
..241
..129
. . 12
342
44
909
281
168
44
160
159
103
44
209
36
84.
.251
70
81
136
144
137....
..188
209
167
75
85..
86..
..201
. 202
172
292
174
118
137
138
300
174
138....
139 .. .
.. 38
.. 54
36
75
36
75
166
190
121
122
87..
..203
293
915
139
118
14O....
.. 95
191
191
168
37
88..
..204
93
991
140
81-2
141. . . .
.. 96
122
199
186
138
89..
9O..
..205
..119
260
80
70
179
44
131
215
291
142....
143....
..189
..351
37
138
37
138
187
169
348
9M
91.
36
143
292
7<1
172
144.
350
348
348
184
349
92..
93.
94..
95..
96.
97..
98..
99..
..111
..112
..301
.. 72
.. 73
..294
..247
..200
170
316
120
229
109
199
164
293
93
260
80
143
170
316
120
346
122
325
132
134
130
86
70
292
293
93
260
316
120
229
145....
146.. .
147.. .
148.. .
149.. .
150.. .
151....
152....
..254
..250
..255
..256
..257
..258
..242
..220
230
349
1
34
123
74
230
349
1
34
123
74
43
169
178
206
208
207
329
175
177
222
1
34
123
74
274
43
169
176
1 VV 136* = 157.
FINDING LIST.
153...
Bl
...219
B
274
W
176
M
281
I)n
224
209..
Bl
...30
B
234
W
995
M
170
Du
995
154..
. 221
43
224
223
162
21O...
...87
210
146
199
146
155..
...13
169
162
231
261
211..
. . . 59
267
271
198
971
156.
39
176
261
230
53
212..
....102
225
193
196
W
157..
158
...252
238
224
162
53
187
241
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5
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