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 U.C.L.A: 
 
 ART LIBRARY
 
 'MILE VERHAEREN, the great Bel- 
 gian poet, in a very characteristic 
 essay on Rembrandt cries out against 
 the modern tendency to emphasize 
 minute research into the life and surroundings 
 of an artist at the expense of a deeper intuition 
 of his works. What profit is there, he exclaims, 
 in reciting every trivial detail of Rembrandt's 
 domestic life, in raking over each sordid item of 
 his ever increasing financial difficulties, in seek- 
 ing to find an outward stimulus for every im- 
 pulse of joy and sorrow in his troubled career, 
 only to lose sight of the marvel and magic of his 
 actual creation? Few men indeed do we know 
 whose lives had less influence on their works 
 than Rembrandt's, for nowhere can we find the 
 source of the wonder-revealing light of his paint- 
 ings, the secret of the superb penetration and 
 insight of his works, in the bare chronicle of this 
 man's life this man who in the seclusion of his 
 domestic circle had no distractions from artistic 
 labor but still more labor. In truth, Rembrandt 
 moved and worked in this world, yet really lived 
 apart and beyond it. To look at his paintings is 
 to visit a fairy land through which flit princes 
 and princesses in gorgeous raiment, men of 
 thoughtful brow and noble mien, women of su- 
 perb devotion and haunting character, epic 
 scenes of life, love, and death. 
 
 To enter into his etchings is to get still further 
 away from mere externals (partly because of the 
 less sensuous character of the etching technique) 
 and to penetrate still more into the core of life. 
 Here the gamut of emotional values is sounded 
 with vivid humanness; here character is limned 
 with simple directness and with little emphasis 
 on outward trappings. Here is Faust us, keen, 
 daring, profound thinker, gazing with rapt 
 eagerness upon the disc of light which may solve 
 the mystery of the universe ; here is the Student 
 by Candlelight, in whose musing demeanor we 
 may almost sense the immanence of winged 
 thought. Here is Jacob Lamenting the Sup- 
 posed Death of Joseph, lifting up his hands with 
 3
 
 a gesture of passionate horror and despair at the 
 loss of his favorite son ; Abraham about to Sacri- 
 fice Isaac, that stern, inflexible patriarch who 
 would have sacrificed even his flesh and blood to 
 what he considered his duty; The Return from 
 the Temple of the eager child who excitedly 
 chatters to his parents of this momentous event 
 of his life; The Descent from the Cross by 
 Torchlight, with its night of desolate loneliness 
 and its sense of the world's utter indifference. 
 Here is The Flight into Egypt, Night Piece, 
 where the couple, overtaken by darkness, are 
 trudging along, weary and footsore, till they find 
 safe harborage for the night; and in delightful 
 contrast to this is The Rest during the Flight 
 into Egypt, lightly etched, that exquisite idyl 
 of joy and spring and youth, in which the happy 
 motive of the pair below is in a sense reiterated 
 in the play of the birds above. 
 
 Thus passes scene after scene of the biblical 
 epic those legends of the life and heart of man 
 which appealed to him not so much in the light 
 of revealed scripture, as they inspired his hu- 
 manity to some of its most beautiful creations. 
 And then there were living men and women and 
 living nature to kindle his imagination. What 
 can be more wonderful than the great portraits, 
 the penetration of the Clement de Jonghe, the 
 geniality of the Lutma, the humanity of the 
 Coppenol, or the frankness of the Portrait of 
 Himself Drawing; or the great landscapes, the 
 bright sunshine of The Three Cottages, the 
 eloquent serenity of The Mill, the clarity and 
 simplicity of the Six's Bridge, or the harmony 
 and balance of the Landscape with the Ruined 
 Tower f 
 
 With this power of transmuting everything 
 about him into veritable fairy gold, it is doubt- 
 ful whether Rembrandt felt very much the loss 
 of the curios and collections of his earlier years. 
 His art was not dependent on trappings or 
 properties. Like Shakespeare in his theatre, 
 Rembrandt in his art dreamed and attained the 
 highest flights imaginable to man, and like 
 4
 
 Shakespeare, too, even in the greatest reaches of 
 his fancy he remained most innately and su- 
 premely human. From this point of view how 
 significant is the formal record of all Rem- 
 brandt's possessions at the time of his death 
 "alleenlijck sijne cleederen van linnen en wollen 
 en 't schildergereetschap" ''only certain linen 
 and woolen garments and his painting materials. ' ' 
 
 CARL ZIGROSSER.
 
 CATALOGUE 
 
 1 Rembrandt Bareheaded. (B. 1, H. 33) 
 
 Signed R. L. Done about 1630. First state of 
 two before the edges of the plate were trimmed. 
 From the Gawet, Boehm, and Schroeter collec- 
 tions. 
 
 2 Rembrandt Bareheaded looking over 
 
 his Shoulder. (B. 10, H. 30) 
 
 Done in 1630. Second state of three before the 
 slant parallel lines which crossed the top of the 
 head were burnished out. Duplicate from the 
 British Museum. 
 
 3 Rembrandt in Cap and Scarf. (B. 17, H. 108) 
 
 Signed and dated Rembrandt f. 1633. On paper 
 watermarked with Head of Folly with Five 
 Points. From the collections of E. Smith, Sir 
 E. Astley, Carl Schloesser, H. S. Theobald, and 
 T. Eoussel. 
 
 4 The Same. (B. 17, H. 108) 
 
 Another impression from the Artaria and Cheva- 
 lier de Franck collections. 
 
 5 Rembrandt and Saskia. (B. 19, H. 144) 
 
 Signed and dated Rembrandt f. 1636. First 
 state of two with the slipped curve above Sas- 
 kia 's eyebrow. From the collections of E. 
 Schroeter and J. P. F. Kalle. 
 
 6 Rembrandt Drawing. (B. 22, H. 229) 
 
 Signed and dated Rembrandt f. 1648. Proof 
 with the landscape seen through the window. 
 Superb impression on Japan paper. 
 
 "... surely that window can be no other than a 
 window in Six's house, and that Rembrandt had found 
 refuge and solace at this time with his sympathetic and 
 powerful friend at Elsbroeck ; and that these things,
 
 and all these landscapes and possibly the Hundred 
 Guilder Print itself were thought out and finished in 
 his companionship, and under his sheltering roof. If 
 so, what an episode in the intellectual life of Six what 
 a compensation for Rembrandt!" 
 
 Seymour Haden: Rembrandt. 
 
 "Another miracle of insight and of technique. Note, 
 for instance, the incredibly delicate modeling of the 
 face by which the tone of the complexion and the keen- 
 ness of the eyes is suggested." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 7 Rembrandt with Fur Cap and Light 
 
 Dress. (B. 24, H. 29) 
 
 Signed and dated B. H. L. 1630. From the col- 
 lections of Dr. A. Straeter and Count Stroganoff. 
 
 "Spirited work with much more scientific modeling. 
 Cap, dress, and dark passages of hair due to a second 
 biting over a paler etching." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 8 Abraham Entertaining the Angels. (B. 29, H. 286) 
 
 Signed and dated Rembrandt f. 1656. Only 
 state. Duplicate from the Dresden Museum. 
 
 "The composition was suggested by one of Rembrandt's 
 drawings from Mahommedan-Indian miniatures (H. de 
 G., 926)." 
 
 A. M. Hind: Rembrandt's Etchings. 
 
 9 Abraham's Sacrifice. (B. 35, H. 283) 
 
 Signed and dated Eembrandt f. 1655. From the 
 Nahl collection. 
 
 "By its grandeur and originality of invention and com- 
 position it may well take rank as one of Rembrandt's 
 finest plates. . . . Independently of its very fine com- 
 position, and the magnificent style in the drawing of 
 Abraham and the Angel, this plate may be easily recom- 
 mended as a fine example of the free etched line which 
 is everywhere perfectly frank and full of vital energy." 
 P. G. Hamerton: Rembrandt. 
 
 10 The Same. (B.35,H.283) 
 
 Another impression. 
 
 11 Jacob's Ladder. (B. 36, 3, H. 284, B) 
 
 Signed and dated Eembrandt /. 1655. Second 
 state of four before the horizontal lines of shad- 
 ing between the rungs of the ladder above. 
 
 This and the following subject were designed 
 for a book in Spanish, Piedra gloriosa o de la 
 estatua de Nebuchadnesar, Amsterdam, 1655, by 
 Rembrandt's friend Samuel Manasseh Ben 
 Israel. Copies of the book containing the orig- 
 inal plates are excessively rare.
 
 12 David and Goliath. (B. 36, 4, H. 284, C) 
 
 Signed and dated Rembrandt f. 1655. Second 
 state of four before the mountain was made con- 
 tinuous. Splendid impression with lower margin 
 intact. 
 
 13 Jacob Lamenting the Supposed Death 
 
 of Joseph. (B. 38, H. 104) 
 
 Signed Rembrandt van Rijn fe. Done about 
 1633. First state before the retouch. From the 
 Chalon and Reiss collections. 
 
 "Entirely by Rembrandt, but done from memory. Note 
 the delicate suggestion of landscape in the distance. 
 The near foliage is a convention similar to that which 
 is found in Rembrandt's oil paintings of this time." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 14 The Triumph of Mordecai. (B.40,H. 172) 
 
 Done about 1640 or later. Only state. 
 
 "First dry-point, then finished with delicate biting; then 
 strongly accented with dry-point. A delightful illus- 
 tration of the story. Note the subtlety with which light 
 and shadow are interchanged and yet kept broad, and 
 how all the curves center in Mordecai's figure." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 15 David at Prayer. (B. 41, H. 258) 
 
 Signed and dated Rembrandt f. 1652. 
 
 "Such plates as the David at Prayer will perhaps never 
 be popular except with those who, like the amateurs of 
 Chinese and Japanese art, are ready to strip them- 
 selves of the clogging idea that art is imitation of life. 
 Rembrandt's changed outlook shows itself not only in 
 the broader elements of design, but in the handling of 
 separate figures. The naturalistic treatment of form 
 was now perfectly at his command, whether he drew 
 from the model or from memory, yet he often chooses 
 to discard it in favor of more abstract and conven- 
 tionalized faces and figures. Modern artists, such as 
 Legros and Strang, have followed in the same track, 
 and it is undeniable that no style can more vigorously 
 express the elemental emotions of humanity." 
 
 A. M. Hind: Rembrandt's Etchings. 
 
 16 The Presentation in the Temple. 
 
 (Small plate.) (B. 51, H. 18) 
 
 Signed and dated R. L. 1630. From the J. Ber- 
 nard and Arozarena collections. 
 
 "The Presentation in the Temple is a remarkable at- 
 tempt at obtaining in etching the richness of design 
 and the delicacy of treatment which at this time were 
 Rembrandt's ideals in painting. . . . For the period 
 the attempt is remarkably successful, and this little 
 plate would make an admirable beginning for a collec- 
 tion of the master's etched compositions. The light and 
 shade are broadly massed, and an effect of great space 
 is obtained in a tiny compass by the dexterous recession 
 of the building to the right and left." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 9
 
 17 The Flight into Egypt, Night Piece. 
 
 (B. 53, H. 253) 
 
 Signed and dated Rembrandt f. 1651. First 
 state of five with Joseph's hand white. Beauti- 
 ful impression from the Henri le See des Tour- 
 nelles and Paul Mathey collections. 
 
 18 The Flight into Egypt, in the manner 
 
 of Elsheimer. (B. 56, H. 266) 
 
 Done about 1653. Sixth state before the sky 
 was cleaned of corrosions. From the Arozarena 
 collection. 
 
 This copper had originally been engraved by Hercules 
 Seghers with the representation of Tobit and the Angel. 
 Only two impressions are known of the print in this 
 state. The plats was then taken by Rembrandt, the 
 figures of Tobit and the Angel effaced, and the figures 
 of Joseph and the Virgin introduced in their places. 
 The trees at the right and the foreground, as well as the 
 figures, are Rembrandt's work. The remainder of the 
 plate is substantially the way Hercules Seghers left it. 
 
 19 The Rest during the Flight into Egypt. 
 
 Lightly etched. (B. 58, H. 216) 
 
 Signed and dated Rembrandt f. 1645. Only state. 
 From the collections of W. Koller and Count 
 Stroganoff. The impressions of this charming 
 little print are always very faint and delicate. 
 
 20 The Return from the Temple. (B. 60, H. 278) 
 
 Signed and dated Rembrandt f. 1654. Only 
 
 state. 
 
 "Another superb example of fusion and noble simplicity 
 
 of design. The dry-point is used less for compositional 
 
 accent than as an enrichment of the general tone of 
 
 the piece." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 21 Christ Disputing with the Doctors. 
 
 (B. 64, H. 277) 
 
 Signed and dated Rembrandt f. 1654. First 
 state with square corners. Splendid impression 
 from the Chambers Hall collection. 
 
 "A noble summary of Rembrandt's power over draw- 
 ing, design, illumination, and insight into human char- 
 acter. The personages are differentiated even more 
 subtly and observed with even more sympathy than in 
 the plate etched some two years earlier." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 22 The Same. (B. 64, H. 277) 
 
 Another impression from the Poggi and Paul 
 Mathey collections. 
 
 23 Christ among the Doctors. (B. 65, H. 257) 
 
 Signed and dated Rembrandt f. 1652. First 
 state before the plate was disfigured by foul bit- 
 
 10
 
 ing at the top and. right. From the collections 
 of J. P. F. Kalle and Eudolph Pelzer. 
 
 "Magnificent: its simplicity should be compared with 
 the studied arrangement of the 1630 plate, as its variety 
 of individual characterization may be contrasted with 
 the generalized types of the earlier piece. Cunning, 
 pedantry, stupidity, senility, and fanaticism have never 
 been more concisely presented." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 24 The Same. (B. 65, H. 257) 
 
 Another impression on paper watermarked with 
 Head of Folly, likewise of the first state. 
 
 25 Christ Preaching. (B. 67, H. 256) 
 
 Done about 1652. Only state. 
 
 "Though less important than the Hundred Guilder 
 Print, the Christ Preaching is certainly as strong as, 
 if not stronger than, its great companion in its draw- 
 ing of human character. The profound attention of 
 the assembly, the marvelous expressions of their faces 
 as they listen to the words of Christ, make an impres- 
 sion upon us that cannot be forgotten, and we are as 
 if we ourselves were there listening to what the great 
 Preacher has to say." Atherton Curtis. 
 
 "His drawing makes itself overlooked, but overlooks 
 nothing. He is excellently physiognomic. He expresses 
 and characterizes in their individuality traits, looks, 
 attitudes, and movements ; that is to say, the normal 
 habits and passing accidents of life. His execution has 
 ihe propriety, the loftiness, the close tissue, the power 
 and concision natural to craftsmen who are past mas- 
 ters in the art of fine language." 
 
 Eugene Fromentin : Les Maitres d'Autrefois. 
 
 26 The Raising of Lazarus. (Small plate.) 
 
 (B. 72, H. 198) 
 
 Signed and dated Eembrandt f. 1642. First 
 state of two before the light diagonal shading on 
 the forehead of Lazarus. From the collection of 
 Eudolph Pelzer. 
 
 "A definite landmark in Rembrandt's career; entirely 
 perfect and successful. The figures, all done from 
 memory, are at once complete in themselves and fused 
 in the general scheme. The design is more daring in 
 its conventions and omissions than any previous at- 
 tempt. Everywhere character is rendered without cari- 
 cature, and set in a delicate natural atmosphere. . . . 
 That it represents an advance upon the earlier treat- 
 ment of the same subject is clear enough, for the old 
 melodramatic poses, the old contrast of high light and 
 dark shadow, are gone, as well as the old artificial feel- 
 ing about the event represented. In the earlier plate 
 Rembrandt could represent Christ only as a mighty 
 magician ; in this later version he has come to under- 
 stand St. John's story better, and recognizes in the 
 miracle the result of divine love and sympathy acting 
 through Him who had no form nor comeliness among 
 the sons of men." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 11
 
 27 The Same. (B. 72, H. 198) 
 
 Another impression, likewise of the first state. 
 
 28 Christ Presented to the People. (B. 76, H. 271) 
 
 Signed and dated Eembrandt f. 1655. Eighth 
 state of nine with much burr. From the Vlas- 
 satto collection. 
 
 "Begins almost like a problem in architectural propor- 
 tion. In the third state the design is concentrated, 
 solidified, and enriched. Then when the dry-point 
 wears away, mystery and tragedy are suggested by the 
 gloomy archways added below, in the place of the bril- 
 liant group of foreground figures. . . . The statue of 
 Justice in the niche to the left should be noticed as an 
 example of Rembrandt's invention. It might have been 
 designed by some ultra-modern sculptor of to-day, with 
 memories of Egypt and of archaic Greek work in his 
 mind." 
 
 0. J. Holmes: Notes on the Art of Rembrandt. 
 
 29 Descent from the Cross by Torchlight. 
 
 (B. 83, H. 280) 
 
 Signed and dated Eembrandt f. 1654. Only 
 state. Superb impression with wide margin. 
 
 "Very grand in idea. Note especially the hand reaching 
 out from the darkness, and the rigid lines of the empty 
 bier. Yet the blackness of the shadows does not blend 
 quite happily with the lighter portions of the plate, so 
 that it has not the unity of his most perfect works." 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 30 The Same. (B. 83, H. 280) 
 
 Another impression on paper watermarked with 
 the Fool's Bauble. 
 
 31 Christ at Emmaus. (The larger plate.) 
 
 (B. 87, H. 282) 
 
 Signed and dated Eembrandt f. 1654. First 
 state of three before the hat of the figure to the 
 right was defined. 
 
 "A well-known masterpiece. To the vibrant effect of 
 the intervals of white paper between the bold black 
 lines, corresponding to the broad decisive brush strokes 
 of Rembrandt's later painting, these prints owe their 
 singular luminous charm. It is curious to note that 
 the superb series of plates etched in open line which 
 belong to the year 1654 were produced at the very 
 time when Rembrandt's financial troubles, which re- 
 sulted in bankruptcy two years later, had become most 
 acute." 
 
 C. J. Holmes: Noter on the Art of Rembrandt. 
 
 32 The Same. (B. 87, H. 282) 
 
 Another impression of the final state. From the 
 Earl of Aylesford's collection. 
 
 12
 
 33 The Same. (B.87,H. 282) 
 
 Another impression, likewise in the final state. 
 From the collection of Paul Mathey. 
 
 34 Peter and John Healing the Cripple 
 
 at the Gate of the Temple. (B. 94, H. 301) 
 
 Signed and dated Rembrandt f. 1659, Second 
 state of five after the contour of the cloak on 
 Peter 's arm was rounded out and before the 
 cross hatching on the left arch reached down to 
 the capital of the column. Impression on Japan 
 paper. 
 
 35 The Baptism of the Eunuch. (B. 98, H. 182) 
 
 Signed and dated Eembrandt f. 1641. First 
 state of two before the shading on the waterfall. 
 Splendid impression. From the collections of 
 Rechberger, De Vries, Webster, and M. J. Perry 
 collections. 
 
 "Pure, fluent invention from beginning to end. Once 
 more we see the influence of Rubens coupled with 
 memories of a former treatment of the subject under 
 Lastman's influence, as in the last early picture from 
 which that in the Oldenberg Gallery is copied, where 
 all the elements of this design except the landscape are 
 to be found." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 36 Death of the Virgin. (B. 99, H. 161) 
 
 Signed and dated Rembrandt f. 1639. Second 
 state before the light vertical shading on the 
 foremost bedpost. From the collection of Fritz 
 Eumpf. 
 
 "A brilliant invention. The man in a cape in front is 
 possibly done from a model, but the others are drawn 
 from memory. The great difference from the earlier 
 plates lies in the treatment of light: brightness being no 
 longer suggested by violent contrasts, but by diffusion. 
 The lightness of tone adds to the impression of space. 
 To the influence of Rubens we must add that of Man- 
 toscna (whose prints Rembrandt copied), notably in the 
 figure of St. John." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 37 St. Jerome in an Italian Landscape. 
 
 (B. 104, H. 267) 
 
 Done about 1653. Impression on paper water- 
 marked with the Head of Folly with five points. 
 
 "The landscape, with the buildings, is suggested by 
 Titian or Campagnola, and according to Haden, di- 
 rectly copied from a drawing once in Dr. Wellesley's 
 collection. Rembrandt's immediate study for this etch- 
 in;; (in reverse direction) is in the Kunsthalle, Ham- 
 burg." A. M. Hind: Rembrandt's Etchings. 
 "Rembrandt a traite bien des fois ce sujet de Saint 
 Jorome, mais jamais avec plus de grandeur ni d'une 
 fac.on plus heureuse." Charles Blanc: Rembrandt. 
 
 13
 
 38 St. Francis Praying. (B. 107, H. 292) 
 
 Signed and dated Rembrandt f. 1657. Superb 
 impression. From the Alfred Seymour collection. 
 All the grandeur of Bembrandt 's last period is 
 seen in this print. 
 
 39 Medea, or The Marriage of Jason and 
 
 Creusa. (B. 112, H. 235) 
 
 Signed and dated Eembrandt f. 1648. Fourth 
 state of five before the margin with verses was 
 cut away. From the Fritz Eumpf collection. 
 
 "The plate was designed to illustrate the tragedy of 
 Medea written by Rembrandt's friend Jan Six and 
 published in Amsterdam in 1648. The book is more 
 usually found without the plate, but Dr. Jan Six has 
 notified the existence of a number of copies containing 
 the etching, as well as some loose folded sheets (ap- 
 parently so printed with the idea of binding in the 
 book)." 
 
 A. M. Hind: Rembrandt's Etchings. 
 
 40 The Pancake Woman. (B. 124, H. 141) 
 
 Signed and dated Eembrandt f. 1635. Second 
 state before the reworking on the basket to the 
 right. From the collection of Alfred Hubert. 
 
 "Good. The first state is very lightly sketched in, color 
 and solidity being added later." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 41 The Same. (B. 124, H. 141) 
 
 Another impression, also of the second state. 
 
 "What an abundance of spirit and humor there is in 
 the delightful picture of street life, The Pancake 
 Woman !" 
 
 H. Knackfuss : Rembrandt. 
 
 42 The Same. (B. 124, H. 141) 
 
 Another impression, likewise of the second state. 
 From the collections of the Earl of Aylesford 
 and Eudolph Pelzer. 
 
 43 The Golf Player. (B. 125, H. 272) 
 
 Signed and dated Bembrandt f. 1654. 
 
 "The Golf Player is ... a fine sketch in which every- 
 thing is subordinated to the play of reflected light." 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 44 The Same. (B. 125, H. 272) 
 
 Another impression from the collection of Count 
 Stroganoff. 
 
 45 The Jews in Synagogue. (B. 126, H. 234) 
 
 Signed and dated Eembrandt f. 1648. Splendid 
 impression. 
 
 14
 
 "There is virtue in limitation of interest, and it is in 
 this respect that the same style of etching used in the 
 Hundred Guilder Print succeeds so perfectly in that 
 wonderful little piece of genre, The Jews in Syna- 
 gogue." 
 
 A. M. Hind: Rembrandt's Etchings. 
 
 46 The Draughtsman. (B. 130, H. 191) 
 
 Done about 1641. First state before the retouch. 
 
 47 The Little Polander. (B. 140, H. 138) 
 
 Done about 1635. First state of two with the 
 plate edges irregular. Splendid proof with wide 
 margins. From the collection of A. Artaria. 
 
 "Good, delicate work, in the manner of the small 
 Crucifixion and perhaps of the same date." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 48 Student by Candlelight. (B. 148, H. 202) 
 
 Done about 1642. First state. From the Aroza- 
 rena, Peoli, Firmin-Didot, and Camesina collec- 
 tions. 
 
 "The work and modeling throughout are good, though 
 very minute, infinitely better than any imitator's. The 
 plate is so marvelously etched and bitten that we seem 
 to see the flickering of the candle flame." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 49 Beggar Leaning on a Stick. (B. 162, H. 15) 
 
 Done about 1632. First state before the edges 
 of the plate were trimmed. 
 
 50 Beggar Leaning on a Stick. (B. 163, H. 9) 
 
 Done about 1630. Only state. From the collec- 
 tion of T . Boussel. Taken from the same model 
 as Beggar Warming Tiis Hands at a Chafing Dish 
 (B. 173). 
 
 51 Beggars Conversing. (B. 164, H. 7) 
 
 Signed and dated E. H. L. 1630. First state be- 
 fore the edges of the plate were trimmed. From 
 the collection of P. Gellatly. 
 
 52 Beggar Warming his Hands at a 
 
 Chafing Dish. (B. 173, H. 8) 
 
 Done about 1630. 
 
 "Skilful but careless. Very modern in its want of per- 
 ception of anything but the external picturesque, though 
 there is some expressiveness about the head." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 53 Beggar Seated on a Bank. (B. 174, H. 11) 
 
 Signed and dated B. H. L. 1630. First state 
 before the edges of the plate were trimmed. 
 From the collections of C. Josi, E. Schroeter, and 
 the Duke of Buccleuch. 
 
 15
 
 54 The Same. (B. 174, H. 11) 
 
 Another impression, from the Theobald collec- 
 tion. 
 
 53 Beggars at the Door of a House. (B. 176, H. 233) 
 Signed and dated Rembrandt f. 1648. 
 
 "This plate is, for the matter of that, one of the most 
 beautiful of all, and one may say that in it everything 
 is perfect the technique, which is here of a rare deli- 
 cacy the expression of the figures their attitudes 
 and the play of the light which distinguishes them so 
 clearly one from the other. I wonder at the art with 
 which the engraver has left one side of the print com- 
 pletely bare in order to concentrate the attention upon 
 his subject. Beautiful things live only by sacrifices, 
 and, more than any one else, Rembrandt grasped this 
 great law of art." Charles Blanc: Rembrandt. 
 
 "When Alphonse Legros remarked to me that he con- 
 sidered this to be Rembrandt's finest etching, I an- 
 swered: 'That is because it is so like one of your own.' 
 To this he made answer: 'You pay me an immense 
 compliment.' " 
 
 Frederick Keppel : The Golden Age of Engraving. 
 
 56 Woman with her Feet in the Water. 
 
 (B. 200, H. 298) 
 
 Signed and dated Eembrandt f. 1658. Only 
 state. Proof on Japan paper from the collec- 
 tion of Dr. A. Straeter. 
 
 "Another fine study without dry-point, more modern, 
 and perhaps more prosaic in its realism than B. 199. 
 It anticipates Courbet and, in a sense, Millet also." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 57 Six's Bridge. (B. 208, H. 209) 
 
 Signed and dated Eembrandt f. 1645. From the 
 collections of the Earl of Aylesford and another 
 not mentioned by Fagan. 
 
 "To the same year 1645 belongs the well-known 
 Six's Bridge, a plate in which the pure bitten line, with 
 no close hatching or shadow effect, is given full play. 
 Of its kind, this is a perfect etching. Every one knows 
 the story of its being done while Six's servant went to 
 fetch the mustard. But there is nothing hasty or in- 
 complete about it; the masterly economy of lines is 
 perfectly satisfying in its absolute directness and sim- 
 plicity. There is great pleasure in contemplating a 
 work like this, so clean, so free from any superfluous 
 element." 
 Laurence Binyon : Rembrandt's Landscape Etchings. 
 
 58 The Three Cottages. (B. 217, H. 246) 
 
 Signed and dated Eembrandt f. 1650. Superb 
 impression on paper watermarked with the Head 
 of Folly. From the Schloesser, Galichon, and 
 Von Lanna collections. 
 
 16
 
 "In contrast with this is another plate of the previous 
 year The Three Cottages where the dry-point is 
 freely used to give color and softness to the thatched 
 roofs, checkered with the shadow of an old tree. But 
 it is the great fulness of shadow in the noonday, not 
 its gloom, which is the motive of this etching." 
 Laurence Binyon: Rembrandt's Landscape Etchings. 
 
 59 Landscape with Ruined Tower and 
 
 Clear Foreground. (B. 223, H. 244) 
 
 Done about 1650. From the Alfred Seymour 
 collection. 
 
 "The print, which, for well-considered breadth and 
 maintained unity of effect (not so much for dainty 
 finish), is the 'last word' of landscape art, the perfect 
 splendid phrase which nothing can appropriately fol- 
 low, after which there is, of necessity, declension if 
 not collapse." 
 
 Frederick Wedmore : Fine Prints. 
 
 "In the earlier states the cupola and the barns in 
 front of it make up so strong a group that the eye is 
 drawn away from the real motive of the plate. By 
 suppressing the cupola and strengthening the sky in the 
 later states, Rembrandt has concentrated the effect on 
 the dark landscape to the left, and has improved the 
 result enormously, though sacrificing an obvious rhythm 
 of line which the cupola emphasized. A masterly 
 plate." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 60 The Cottage with the White Palings. 
 
 (B. 232, H. 203) 
 Signed and dated Rembrandt f. 1642. 
 
 61 The Mill. (B. 233, H. 179) 
 
 Signed and dated Rembrandt f. 1641. Only 
 state. 
 
 "A lesson in the variety of linear methods which are 
 needed to get richness and texture in a simple sub- 
 ject. The ideal of large spacing in landscape leads 
 to vacuity and mannerism unless we keep in constant 
 touch with nature. Hero great simplicity of design 
 is employed, so Rembrandt calls in all the resources 
 of his art as a draughtsman to secure the texture and 
 details of nature without belittling the broad general 
 scheme of the print." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 62 A Canal with Swans. (B. 235, H. 23S) 
 
 Signed and dated Rembrandt f. 1650. Superb 
 impression on Japan paper. 
 
 "Several of the master's exquisite etchings of landscape 
 are dated 1650 . . . the little print, so charming in its 
 simplicity, of the Canal with the Swans." 
 
 Knackfuss: Rembrandt. 
 
 "In the mountainous landscape behind, we may still 
 trace the influence of Hercules Seghers." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 17
 
 63 An Old Man with Divided Fur Cap. 
 
 (B. 265, H. 170) 
 
 Signed and dated Rembrandt f. 1640. First state 
 of three, before the slipped stroke near the left 
 eye of the sitter. From the Hibbert and Theo- 
 bald collections. This impression has most un- 
 usual breadth and brilliancy, so that the print, 
 so far as this impression is concerned, should 
 take its place among the great portraits by Eem- 
 brandt. 
 
 64 Dr. Faustus. (B. 270, H. 260) 
 
 Done about 1652. First state of three before 
 additional shading on the book to the right. 
 
 "A superb example of force concealed by delicate 
 transitions. Note how Faustus' white cap makes his 
 figure tell in spite of large lights elsewhere, and yet 
 is connected with the background by the shadow in 
 its folds. Also how the papers hanging against the 
 window break its regular outline, and carry diffused 
 light into the room. Note, too, how the breadth of the 
 lighting is increased and attention concentrated on 
 Faustus by the open handling of the objects in the 
 immediate foreground. Altogether the plate is one of 
 the most perfect of Rembrandt's etched inventions." 
 C. J. Holmes : Notes on the Art of Rembrandt. 
 
 "The whole of Rembrandt is in his engravings his 
 mind, tendencies, imagination, reverie, good sense, 
 chimeras, difficulties of rendering the impossible, real- 
 ities in nothingness. It is the same craftsmanship, the 
 same set purpose, the same carelessness and insistence, 
 the same strangeness of style, the same desperate and 
 sudden success achieved by expression." 
 
 Eugene Fromentin: Les Maitres d'Autrefois. 
 
 65 Clement de Jonghe. (B. 272, H. 251) 
 
 Signed and dated Rembrandt f. 1651. Third 
 state before additional shading below the arch. 
 Beautiful impression from the Artaria collection. 
 
 "As to the portrait of Clement de Jonghe which Rem- 
 brandt etched, one has no need to remark how fortu- 
 nate is the arrangement or how beautiful the effect, 
 how imposing the pensive expression of this personage, 
 whom one would so little suspect of being a merchant 
 occupied with the prosaic details of his business, and to 
 whom Rembrandt who always idealized nature ac- 
 cording to his own ideas has been able to give, as in 
 the case of the Young Haaring, an air of reverie so 
 profound and the austere melancholy of a philosopher 
 in meditation." 
 
 Charles Blanc: Rembrandt. 
 
 06 The Same. (B. 272, H. 251) 
 
 Another impression. Fifth state before rework 
 on hat, and chair below upper bar. From an 
 unidentified collection. 
 
 18
 
 "In the first four states we can watch the sitter gradu- 
 ally growing in reality and solidity without losing 
 anything of his ghostly and sinister look. The lumi- 
 nosity of the piece is enhanced by the repression of 
 local color, so that the total effect is almost that of 
 monochrome. Room is thus left for the display of 
 those subtleties of modeling on which its impressiveness 
 depends." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 67 Jan Lutma. (B. 276, H. 290) 
 
 Signed and dated Rembrandt f. 1656. Second 
 state with the addition of the window, but before 
 cross hatching in upper right corner. From the 
 freshness of the burr all through the plate, it 
 would seem that this proof is an extremely early 
 impression just after the window was added. 
 
 "Sitting upright in his arm-chair with a statue in his 
 hand, this artificer in gold, silver, and precious stones 
 looks out sideways at us, and instantly we recognize, by 
 his fine artful glance, his metier. This work is of rare 
 completion and bears the same significance in his 
 etched work that the Syndics of the Drapers' Guild does 
 in his painting. It sums up that moment of the mas- 
 ter's life when all his powers were in a sense so bal- 
 anced that he could add to his immense strength a 
 suggestion of calm and reserve power." 
 
 Emile Verhaeren: Rembrandt. 
 
 68 The Little Coppenol. (B. 282, H. 269) 
 
 Done about 1653. Fourth state with triptych. 
 It appears from an epigram by H. F. Waterloo 
 in the ' ' Hollantsche Parnas door T. v. Dom- 
 selaar verzamelt, Amsterdam, 1660, ' ' that the 
 boy in the present etching is Coppenol's grand- 
 son. 
 
 69 The Great Coppenol. (B. 283, H. 300) 
 
 Done about 1658. Fifth state before the plate 
 was cut down. 
 
 70 Portrait of a Boy in Profile. (B. 310, H. 188) 
 
 Signed and dated Eembrandt f. 1641. Only 
 state. From the collection of J. D. Boehm. 
 
 "A superbly delicate study. Compare it with Flinck's 
 picture of William II of Orange." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 71 Rembrandt Wearing a Toque. (B. 319, H. 58) 
 
 Done about 1631. From the P. Gellatly collec- 
 tion. 
 
 72 Rembrandt's Mother turned to the 
 
 Right. (B.343,H.52) 
 
 Signed E. H. L. f. Done about 1631. Third 
 state before the plate was cut to an oval. From 
 the Gawet, Boehm, and Firmin-Didot collections. 
 
 19
 
 "Look at Rembrandt's Mother turned to the Right: 
 was ever mother so nobly immortalized by the etching 
 needle f The tender protective spirit of all motherhood 
 is not suggested, perhaps as it is in Whistler's mother, 
 but here, one feels, are just those wise and beautiful 
 qualities of reverend and experienced age that one can 
 imagine Rembrandt wished to realize in his mother. 
 And how simple and dignified the treatment, with all 
 the relative blacks of the costume I" 
 
 M. C. Salaman: From Rembrandt to Whistler. 
 
 73 Saskia with Headdress of Pearls. 
 
 (B. 347, H. 112) 
 
 Signed and dated Eembrandt f. 1634. Only 
 state. From the collections of A. Donnadieu and 
 Henri le Sec des Tournelles. 
 
 "This is one of the most attractive of Rembrandt's 
 portraits of his wife Saskia, to whom he was married 
 in June of the same year." 
 
 A. M. Hind : Rembrandt's Etchings. 
 
 74 Old Woman Asleep. (B. 350, H. 129) 
 
 Done about 1635-7. Only state. Splendid im- 
 pression, from the collection of A. Finnin-Didot. 
 
 "This seems to have been long a popular plate, as it 
 has often been copied, once by Andrew Geddes. I do 
 not know any work by the master that contains as 
 much of his human sympathy and such abundant evi- 
 dence of observation on so small a scale." 
 
 P. G. Hamerton : Rembrandt. 
 
 75 Three Heads of Women, One Asleep. 
 
 (B. 368, H. 152) 
 
 Signed and dated Eembrandt f. 1637. From the 
 Galichon collection. 
 
 "A sheet of excellent studies." 
 
 C. J. Holmes: Notes on the Art of Rembrandt. 
 
 THE DEVINNE PRESS