1643 has only two signed etchings, but both are masterpieces of out-door work—"The Hog" (B. 157), and the justly-renowned "Three Trees" (B. 212). There is only one etching dated 1644, a landscape with figures, called "The Shepherd and his Family" (B. 220).

A superb combination of pure etching and dry-point dates from 1645—the "View of Omval, near Amsterdam" (B. 209), one of the most entirely satisfactory of the etchings, both for perfection of workmanship and beauty of effect. The transition from the loving care bestowed upon the splendid study of the gnarled and shattered willow-tree in front, through the more broadly yet quite adequately expressed foliage behind it on the left, to the slight yet all-sufficient treatment of the river and landscape beyond it on the right, shows a precise adaptation of the necessary means to the desired end, which, had no other line of Rembrandt's etching come down to us, would have been enough to stamp him as the finest known exponent of the art. A second landscape of that year is a study of a boat-house, known as "The Grotto" (B. 231); and a third, the one known as "Six's Bridge" (B. 208), a masterly little sketch from nature. As an example of the utmost expressiveness with the fewest necessary means, of a thorough grasp of the essentials and rejection of superfluities, and of a profound mastery of technical methods, this etching cannot easily be over-estimated. An outline sketch of the "Repose in Egypt" (B. 58), and a more highly finished "Abraham conversing with Isaac" just previous to the projected sacrifice (B. 34), are the only subject-etchings of that year, which is further remarkable for the absence of any portraits or studies of heads.

The next few years are singularly devoid of dated etchings. There are three from 1646—a small sketch of "An Old Beggar Woman" (B. 170); a subject known as "Ledikant" (B. 186), one of those frank improprieties to the perpetration of which Rembrandt, with the freedom of his time, more than once degraded his talents, from our modern point of view; and a direct study from the nude model, "A Man seated on the Ground" (B. 196). 1647 has only two, both highly-finished endeavours to realise a wholly pictorial effect—an endeavour which, however successful, is always to some extent a mis-application of the art, a deliberate sacrifice of its special advantages, in order to attain an object more easily and efficiently obtainable in other ways. Still, regarded as attempts to express the full tonality, there is much to admire and study in these two portraits of "Six" (B. 285), and "Ephraim Bonus" (B. 278), the Jewish physician, descending a staircase, with his right hand on the banister, as if pausing on his return from visiting a patient, a reversed reproduction of the picture in the Six collection already referred to.

In 1648 he once more undertook a "Portrait of Himself" (B. 22), a very different presentment from the earlier ones, with their feathered caps and embroidered cloaks, their flowing locks and brushed up moustaches. Time and trouble have told upon him, and it is pathetic to contrast the proud elegance of the Rembrandt of 1639 (B. 21), his fine clothes, rich velvet cap flung carelessly on one side of his long curling hair, and his self-satisfied air, with this grave, soberly-clad, middle-aged man, in his plain, high, square-topped, broad-brimmed hat, and dark working blouse. His cavalier curls are cropped, his once airily upturned moustache trimmed short, the dainty tuft upon his chin is gone. He has grown stout, his throat hangs in puffy folds below his chin, his nose has coarsened, and he bears his two-and-forty years but badly; but if his face has aged, it has also strengthened, he has learned as well as suffered, and, if there is no longer in his eyes the look of undoubting self-approval, there is still the same keen, penetrating gaze of observation, and a wiser self-confidence born of trials and labours past and overcome. Among all the portraits of Rembrandt, real or supposed, there is none which makes one feel so strongly that here, indeed, one is face to face with him, as he saw himself when he sat drawing from the mirror in front of him.

Another splendid example of that year is the "Beggars at the Door of a House" (B. 176), a masterpiece of composition and workmanship. It has all the rich effect of a highly-laboured piece of work, yet a careful study of it shows how simple and direct are the means actually employed; for the elaborately-finished effect, it will be found, is due, not to the multiplication of lines, but to the absolute rightness and appropriateness of the comparatively few that are used. The crispness and firmness of the drawing are quite magnificent, and it is satisfactory to know that this marvellous little plate, simple and unsensational as it is, comes third, according to M. Amand Durand, in popularity with the purchasers of reproductions. Yet another masterpiece of the same year is "The Jews' Synagogue" (B. 126); and a fourth etching is "The Marriage of Jason and Creusa" (B. 112), a composition of many figures, made to illustrate his friend Jan Six's tragedy of Medea, published that year, in which, as usual with him, the attempt to convey the classical spirit was scarcely successful.

There is no etching which we can definitely assign to 1649. In 1650, on the other hand, we have six, including four landscapes, to which he again turned his attention after an interval of five years. These are "A Village by the High-Road" (B. 217), with its big tree and high-gabled cottages; the excellent "Village with a Square Tower" (B. 218); the "Canal with Swans" (B. 235); and the sketch of "A Canal with a Large Boat" (B. 236) lying broadside on athwart the foreground, which is, however, chiefly interesting from the background, which has given rise to a question as to whether Rembrandt was about that time on his travels to some place unknown. This hilly distance, with the steep cliff on the left, and the Italian-looking tower in the centre, certainly bears no resemblance to anything in his ordinary surroundings, but there is nothing in it to assure us that it was done from nature, and as we know that he more than once adapted a landscape from some Italian master, generally Titian, it would be rash to found any conclusion on the resemblance.

A remarkable instance of patient and loving care is seen in the "Shell" (B. 159), an astonishingly truthful and minute study of still life, which is equally attractive in the first state against a plain white background, and in the second against a nearly black one, which, however, may have been added by some other hand. The sixth etching of that year, "Christ appearing to the Disciples" (B. 89), is a sketch in outline with a little tentative shading here and there, and, though handled with freedom and boldness, has little of interest or beauty to recommend it.

During 1651 he devoted himself once and once only to each class of work; for there is one subject, "The Flight into Egypt" (B. 53), showing Joseph carrying a lantern, and leading the ass bearing the Virgin and Child through the night; one landscape, "The Goldweigher's Field" (B. 234)—so called from the view including the country-house of his friend Uijtenbogaerd, the treasurer, whose portrait, etched by Rembrandt, is known as "The Goldweigher"; and one portrait, "Clement de Jonghe" (B. 272), one of the best, if not the best, he ever did. Still fewer etchings were produced in 1652, and one of the two, the larger "Christ disputing with the Doctors" (B. 65), is only a sketch—in places, indeed, it degenerates to a mere scrawl—displaying, for Rembrandt, an unwonted amount of indifferent and inexpressive drawing; but the other, a landscape, generally known in England as the "Vista" (B. 222), with the two large trees on the left and the dense wood in the centre, is, perhaps, the finest specimen of work in pure dry-point ever produced.

1653 is, again, a blank as far as dated etchings are concerned, but to 1654 belong eight, seven of which are subjects from the New Testament; a "Circumcision" (B. 47), known as the one with the cask and net; a sketch of "The Holy Family crossing a Rill during the Flight into Egypt" (B. 55), in which the figures are clumsily and unpleasantly thrown into relief by a band of shadow closely following their outlines in very naïve fashion, but which, nevertheless, contains a great deal of bold and expressive drawing; "Jesus and His Parents returning from Jerusalem" (B. 60), in which we have another instance of an altogether foreign landscape, which might as well be adduced in evidence of his foreign travels as that of four years before. In this case, however, it has evidently been so closely copied from an unknown original that there can be no doubt that there is somewhere, or at any rate was then, a drawing of the subject, and there is, furthermore, a very high degree of probability that the drawing was by Titian. The figures are full of movement, and there is, in especial, much animation in the young Christ, who, led by His father, himself leads His mother, turning half backwards as He walks to speak to her, but the types of the heads, especially that of the Virgin Mary, are disagreeably ugly and vulgar. The Virgin in "The Holy Family with the Serpent" (B. 63), has, on the other hand, an unusual amount of grace, but this, it has to be admitted, is due to the fact that it is borrowed from Mantegna, and the plate is otherwise an indifferent piece of work. "Christ and the Disciples at Emmaus" (B. 87) is, again, no more than a sketch, presenting with much vividness the actions of surprise on the part of the two disciples and of the serving-man descending the stairs in front; but here, as so often elsewhere, Rembrandt has failed to rise to any sense of the sublimity or dignity of Christ, and as, in this example, he sits in full face in the very centre of the picture, the fault cannot well be overlooked or condoned. A far more satisfactory production, indeed the best of the year, is "The Descent from the Cross by Torchlight" (B. 83), with its bold drawing and coarse yet effective handling, but, like all the work of 1654, it has serious and obvious defects; while the last to be noted, "The Game of Golf" or Kolf (B. 125), is yet another instance of Rembrandt's contentedly signing a work which would disgrace a man without a tithe of his genius, and is one of those plates which, if it be authentic—and no one else that I know of disputes it—renders any test of genuineness by workmanship impossible.

1655 saw Rembrandt employed once more as an illustrator, the book being one entitled "Piedra gloriosa ò de la estatua de Nebucadnezar," by his friend Manasseh ben Israel, for which he etched four subjects on one plate, afterwards sub-divided—"Jacob's Dream," "The Combat of David and Goliath," "Nebuchadnezzar's Dream," and "The Vision of Ezekiel" (B. 36). "Abraham's Sacrifice" (B. 35), of the same year, is another of those bold and rapid sketches in which Rembrandt seems to have dashed at his subject and realised it by sheer force of energy, caring little about detail, shading where he wanted shadows, and omitting them where he wanted light, without any regard to where light and shade would have been, yet putting such vitality, such genuine, undeniable, human feeling into it, that even bad drawing passes unnoticed. The swirl of the broad-winged angel swooping down from behind on Abraham, grasping his left arm just above he elbow to hold back the knife, while with his right he removes Abraham's right hand from the eyes of the resignedly kneeling Isaac, is marvellous. The startled surprise of Abraham is amazingly true; and, carried away by the vigour of the actions and the sound breadth of the work, we ignore the fact that Abraham is left-handed, and that the angel has no forearm. Another equally bold work in outline is "Christ before Pilate" (B. 76), with its wonderful crowd of figures in the foreground relieved against the platform on which Christ and Pilate stand surrounded by soldiers. The only highly-finished work of the year is the "Portrait of Thomas Jacobsz Haring" (B. 275), known as "The Young Haring," to distinguish it from the etching of his father "The Old Haring."

There are only two etchings dated 1656,—"Abraham entertaining the Angels" (B. 29), in which yet again we have forced upon us the incapacity of Rembrandt's mind to evolve an acceptable supernatural figure, and the splendid "Portrait of Jan Lutma" (B. 276). It is impossible to look on this and doubt that it is an admirable likeness of a delightful old man. With what a shrewd humorous expression he sits in that high-backed arm-chair, surmounted by lions' heads, which figures in so many of Rembrandt's portraits at that time. How broad and easy, yet neither over-laboured nor careless, is the handling. Rembrandt never worked better, and one cannot but feel convinced, in regarding the result, that, to both artist and sitter, the work was a labour of love, and the sittings periods of mutual enjoyment. In this, the last dated portrait we have, he reached the highest pitch of excellence he ever attained.

In 1657, as far as we know, he executed only one etching, "St Francis praying" (B. 107), unfinished, and chiefly notable for the fine study of a tree which it contains. Three figures of nude women, "A Woman preparing to dress after Bathing" (B. 199), "A Woman sitting with her Feet in Water" (B. 200), and a so-called "Negress lying down" (B. 205), are dated 1658, while 1659 was marked by two very diverse subjects, "St Peter and St John at the Gate of the Temple" (B. 94), and "Jupiter disguised as a Satyr discovering the sleeping Antiope" (B. 203).

Throughout 1660 Rembrandt would seem to have left his etching needle to rust in idleness, but he resumed it once more in 1661, and produced a study of the nude, "A Woman with her Back turned sitting cross-legged upon a Bed, holding an Arrow in her right Hand" (B. 202); and with this the list of authentic dated etchings is brought to a close.

There are one hundred and one etchings generally accepted as Rembrandt's to which no date can positively be assigned, but lack of space forbids our considering them at length, and we must be content to review them somewhat hastily, dwelling only on those of special importance. The earlier years, from 1628 or 1629 to about 1635, are chiefly characterised by a number of small portraits of himself, and of various unknown old men and old women, and by a remarkable series of sketches of beggars and peasants. About 1631 we find the first study from the nude, "Diana bathing" (B. 201), altogether excellent as an example of well-directed line, devoted, however, to a coarse and unshapely figure. Of approximately the same date is a masterly portrait of "An Old Lady," in all probability Rembrandt's mother (B. 343), seated at a table, turned in three-quarter face to the right, her hands lightly folded in her lap, which is worthy of remark as showing how rapidly Rembrandt mastered all the available styles of etching, and how subtly and skilfully he combined them.

A little later, the assigned dates ranging between 1633 and 1636, we have the first portrait, outside his family circle, to which we can definitely attach a name, that of the minister "Jan Cornelis Sylvius" (B. 266), with whose family Saskia was staying before her marriage. If, as we may imagine, it was undertaken to ingratiate himself with people so important to him, or later out of gratitude for their good offices, we can only hope that they were not over-critical, for it must be confessed that this exercise in pure dry-point is about as bad an example as could be found. A sheet of sketches (B. 367), dating from 1635 or 1636, is noteworthy for the charming "Head of Saskia" included in it, and a "Portrait of Himself in a flat cap and slashed vest" (B. 26), slightly but beautifully etched, as undoubtedly an admirable presentment of himself as he appeared about 1638. Four scripture subjects are, a sketch of "The Flight into Egypt" (B. 54), dating anywhere between 1630 and 1640; a "Holy Family," known as "The Virgin with the Linen" (B. 62), dating between 1632 and 1640; a beautiful little "Crucifixion" (B. 80), dating from 1634 or 1635; and "An Old Man caressing a Boy," who stands between his knees (B. 33), dating from 1638 or 1639, believed by some authorities to represent "Abraham caressing Isaac."

There are, altogether, forty-eight etchings attributed with every probability of correctness to the years before 1640, many of which deserve more attention than we can spare them; while two, "A Sketch of a Tree" (B. 372), and "The Presentation in the vaulted Temple" (B. 49), are placed by some a year or two earlier, by others a year or two later, than that year. To the year itself probably belongs a landscape "A large Tree by a House" (B. 207), and to it or to the following year "The Virgin mourning the Death of Jesus" (B. 85), "The Flute-Player" (B. 188), and "A View of Amsterdam" (B. 210); while to 1641 are generally assigned two sketches of lion-hunts (B. 115 and 116), more remarkable for energy of action then accuracy of drawing; a vigorous "Battle-Scene" (B. 117); "The Draughtsman" (B. 130), and "A Portrait of a Boy" (B. 310). Other landscapes, of doubtful date, but almost certainly of some year between 1640 and 1650, are, "The Bull" (B. 253), "A Village with a River and Sailing Vessel" (B. 228), the beautiful "Landscape with a Man sketching" (B. 219), and the "Landscape with a ruined Tower" (B. 223). Portraits of known originals are those of "Jan Asselyn" (B. 277), a fellow-artist, a dwarfed, deformed little man, nicknamed by his contemporaries the little Crab, whose personal failings evidently did not weigh on him, for he stands gazing at the spectator with a superb air of ludicrous conceit; and a magnificent one of the same "Jan Sylvius" (B. 280) with whom Rembrandt had so conspicuously failed before, so full of life and movement that it is hard to believe, though an indubitable fact, that it was etched from a study in 1645 or 1646, seven or eight years after the death of the minister. The scripture subjects of this decade include an oval "Crucifixion" (B. 79), and "The Triumph of Mordecai" (B. 40).

In the debatable land between the late forties and the early fifties there are two magnificent works, one, oddly included in the usual classifications among the portraits, "Dr Faustus" (B. 270), the other the famous Hundred Guilder print, "Jesus Christ healing the Sick" (B. 74). There are, all told, twenty-eight etchings dating between 1640 and 1650.

Only eighteen of uncertain date are placed between 1650 and the end of Rembrandt's career as an etcher in 1661, but they are nearly all worthy of more space than can be devoted to them. One is a landscape, "The Sportsman" (B. 211). Five are portraits, one of "A Youth," long known as Rembrandt, but undoubtedly his son Titus (B. 11); the large one of "Coppenol" (B. 283), probably among the last of the etchings, but beautifully and minutely finished in an exquisitely delicate fashion, though the hands are less well expressed than usual with Rembrandt, who, whether in painting or drawing, delighted in bringing out with care the full character revealed by them; a portrait in dry-point of "Dr Arnoldus Tholinx" (B. 284), of which it would be impossible to speak too highly; a less admirable one of "Abraham Francen" (B. 273), whose long and faithful friendship with the painter has been referred to in the Life; and one of Jacob Haring (B. 274), known as "The Old Haring."

There are nine scripture subjects of the period, two from the Old Testament, "King David at Prayer" (B. 41), a strong and unhesitating piece of work, in which, however, the face of the king is somewhat too simply expressed, but was probably not considered by Rembrandt as finished; and "Tobit Blind" (B. 42), scarcely more than a sketch, but full of the sentiment of helpless blindness. Of the seven subjects from the New Testament two are of the first importance, "Christ preaching" (B. 67), known as the little La Tombe, because, it is supposed, the plate came into the possession of the dealer of that name; and the "Three Crosses" (B. 78), the former being an etching heightened by dry-point, the second a work in dry-point throughout. "Jesus Christ entombed" (B. 86) is a powerful and effective etching dating probably from the early fifties, and "The Presentation in the Temple" (B. 50), further identified as being in Rembrandt's dark manner, from about the middle of the decade. "The Nativity" (B. 45), of about the same time, is an exquisite little composition expressed with the utmost simplicity compatible with the desired result. In "Christ in the Garden of Olives" (B. 75), on the other hand, this rapidity of work has been carried too far, and degenerates into sheer carelessness, though, apart from details, the arrangement of the masses of light and shade is good. "Christ and the Samaritan Woman" (B. 70), dating from 1657 or 1658, is drawn with precision and delicacy, but the device of relieving the face of the woman by a dark and impossible shadow on a building in the background, is scarcely a happy or successful one. A figure of "A Nude Woman sitting by a Dutch stove" (B. 197), a portrait of "A Goldsmith at his Work" (B. 123), and "A Sheet of Sketches" (B. 364), of which only three copies are known, bring the tale of etchings to which an approximate date may be assigned to a conclusion.

There remain seventeen, concerning the probable dates of which conjectures vary so widely, that it is safer to admit we do not know, and cannot guess with any prospect of success. Thus the clever little sketch of "Two Beggars walking towards the right" (B. 144), has been dated 1629, 1634, and 1648; another "Beggar leaning upon a Stick" (B. 162), 1631 and 1641, and a pathetic little composition of "Christ's Body carried to the Tomb" (B. 84), 1632 and 1645; while the small "Portrait of Coppenol" (B. 282), has been attributed by one to 1632, but by another to as far away as 1651. Other plates of equally uncertain date are five landscapes—the exquisite "Landscape with a Flock of Sheep" (B. 224), and the no less admirable "Peasant with Milk Pails" (B. 213); "The Cottage with white Pales" (B. 232), "The Canal" (B. 221), the "Landscape with an Obelisque" (B. 227), and the "Landscape with a Cow drinking" (B. 237). Three are scripture subjects—"The Adoration of the Shepherds" (B. 46), a hurriedly executed night effect, dating between 1632 and 1640 according to Vosmaer, from 1652 according to Middleton; a second night effect, "The Repose in Egypt" (B. 57), also assigned by Vosmaer to some date between 1632 and 1640, by M. Michel to 1641 or 1642, and by Middleton to 1647; and a very indifferent "St Peter" (B. 96), with a signature and date which Middleton reads 1645, Vosmaer 1655. Another dated plate is "The Bathers" (B. 195), which, according to M. Michel, was originally dated 1631, the 3 having subsequently been altered by Rembrandt into a 5. As to the why and wherefore of such an incomprehensible error on the artist's part, he offers no conjecture, but that the etching does not, at any rate, belong to the earlier year is indicated by the fact that it is signed Rembrandt in full, while all the certain plates of that year are signed with a monogram, the first to bear the full name being the "St Jerome" (B. 101) of 1632. A third plate bearing a date, concerning the interpretation of which the authorities differ, is the mysterious allegorical one "The Phœnix" (B. 110), Vosmaer and Wilson making it 1648, M. Michel and Middleton 1658; while a fourth, "A Sheet of Sketches with a head of Himself" (B. 370), is dated so indistinctly that it has been read as 1630, 1631, and 1650. As, however, it is signed with a monogram, it certainly belongs to one of the earlier years. "The Star of the Kings" (B. 113), a subject from contemporary life, representing a party of boys carrying a large illuminated star through the streets of a town at Epiphany, dating either from 1641 or 1652, is the last to be mentioned of the undisputed etchings.

DISPUTED ETCHINGS AND DRAWINGS

At the question of the disputed etchings we have not space even to glance. It is a delicate and difficult one, and could only be treated to any advantage at considerable length. It is, furthermore, one of interest to experts and collectors alone, and so directly opposite in many cases are their opinions that it is certain no finality can ever be hoped for. The reader who desires to enter upon this thorny ground must content himself with pinning his faith finally to one or another recognised authority, and abiding by his decision; unless, having first thoroughly studied the undisputed etchings, he is prepared to undertake the trial and judgment of each for himself, in which case he will, without doubt, sooner or later find himself differing on one point or another with every previous writer on the subject.

The less ambitious reader, who wishes only to know and appreciate what Rembrandt beyond question did do, will be wiser to confine himself to a study of the undisputed plates. In them he will find ample justification for the high position to which Rembrandt as an etcher has been elevated by his successors in the art. Beginning with the early etchings of himself or the members of his family, often mere drawings on copper, with little or no appeal to the variety of line and tone obtainable in etching, he may follow the artist's sure and rapid development, until he finds him master of every method the art permits. He may trace the progress of his work, from a first sketch of an idea, dashed off on the copper in one sitting, to the high perfection of such an elaborate portrait as that of "Burgomaster Six." He will further perceive, as was first pointed out by Sir F. Seymour Haden, how during the first ten years he confined himself almost entirely to pure etching, how during the following ten he began more and more to supplement his work with additions in dry-point, and how during the last ten years he to a considerable extent expressed himself by means of the point alone. He will, in especial, discover, if he compares Rembrandt's etched work with that of other masters, and without doing so he can never rightly understand it, that it is not in technique, masterly as that often is, so much as in expressiveness that his pre-eminence lies. It is in the mental qualities more than in the manual, that he so incomparably excels. Drawing often carelessly, blind or indifferent to superficial beauties, he, nevertheless, gets straight to the heart of the matter, grasps the essentials, and feels clearly and records frankly and simply all that speaks to the fundamental humanity in himself, and must therefore strike an answering chord in the breasts of his fellow-men. It is in this perceiving and revealing the true inwardness of the matter, through and apart from the mere accidents of environment, that he is unapproachable, far more than in the strength and direction of line, depth of shadow or brightness of light, application of acid or scraping of copper. In such a plate as the "Blind Tobit" (B. 42) there is not a detail of the technique which other men could not have done as well; but for such another presentment of the hurried, helpless groping for the door by a blind, weak old man not yet inured to the perpetual darkness that has fallen on him, we must wait for a second Rembrandt—and the wait is likely to be long.

Of the drawings I propose to speak very briefly. In the first place, their name is legion, and to treat them properly would take a volume in itself, such a volume as we may hope some day to see written. M. Michel gives a list of nearly nine hundred, which does not pretend to be a full one. The British Museum alone contains ninety authentic drawings and a considerable number of more or less doubtful ones. In the second place, their qualities are such as to appeal almost exclusively to the artist. Rembrandt's impetuous energy did not lend itself to the production of the minute and elegant drawings characteristic of so many Italian masters. He made the drawing for the sake of what it had to tell him, not for the purpose of creating a thing beautiful in itself. An idea crossed his mind, or an object struck his eye, and straightway he jotted it down with whatever came the handiest in the simplest possible manner consistent with the necessity that the note so made should subsequently recall to his memory the idea or object.

Most attractive, perhaps, to the amateur, are the numberless little sketches of landscapes, just the simple everyday scenes that caught his eye during his daily walks, jotted down on the spot, briefly, but with extraordinary truth and vivacity, and always with a sense of balance and proportion, and an intuition of the salient points, transmuted by his own genius into gems of reticent perfection.

CATALOGUE OF WORKS

BUDA-PESTH, ACADEMY.

Portrait of an Old Man with a white beard. S. 1640. P. 28⅖ × 21⅘. [No. 235.]

Repose of the Holy Family. 1655.

COLLECTION OF COUNT J. ANDRASSY.

Portrait of Himself. S. 1630. P. 19⅗ × 15⅕.

COLLECTION OF MR GEORGE VON RATH.

Mountain Landscape. S. 1638. P. 22 × 28⅗.

Slaughtered Ox. S. 1639. P. 21⅕ × 17⅕.

Portrait of a Woman. S. 1660. P. 29⅖ × 20⅖.

CRACOW, CZARTORYSKI MUSEUM.

Landscape. S. 1638. P. 17¾ × 25¼.

INNSBRUCK, FERDINANDEUM.

Head of an Old Man. S. 1630. P. 8⅘ × 6⅘.

PRAGUE. COUNT NOSTITZ.

An Old Man. S. 1634. C. 58 × 54. [No. 269.]

TARNOWITZ, GALICIA. COUNT TARNOWSKI.

Polish Horseman. 1655. C. 46 × 53⅖.

VIENNA, ACADEMY.

Portrait of a Young Woman. S. 1632. C. 39⅕ × 28⅘.

COUNT KÖNIGSWARTER.

Portrait of Rembrandt. S. 1640. C. 23 × 17½.

PRINCE LIECHTENSTEIN.

Portrait of Saskia. S. 1632. P. 23⅗ × 17⅗.

Young Girl at her Toilet, called the Jewish fiancée. S. 1632. C. 43⅕ × 37⅕.

Portrait of Rembrandt. S. 1635. C. 36⅘ × 28⅘.

Portrait of a Man. S. 1636.

Portrait of a Woman. Companion to above. S. 1636.

PRINCE LUBOMIRSKI.

Study of Rembrandt with his Mouth open. 1629. P. 17⅗ × 13⅕.

FRANZ XAVIER MEYER.

A Philosopher reading by Candlelight. 1627. Copper, 5⅗ × 5⅗. A very doubtful picture.

IMPERIAL MUSEUM.

Portrait of a Man. 1630. P. 36⅖ × 28. [No. 1139.]

Portrait of a Woman. P. 36⅖ × 28. [No. 1140.]

St Paul. 1636. C. 50⅖ × 44.

Portrait of Rembrandt's Mother. S. 1639. P. 32 × 24⅘. [No. 1141.]

Portrait of Himself. 1658. C. 45⅕ × 32⅖. [No. 1142.]

Young Man Singing. 1658. C. 28⅖ × 28⅘. [No. 1144.]

Portrait of Himself. S. 1668. P. 20 × 16⅖. [No. 1143.]

COUNT SCHÖNBORN-BUCHHEIM.

Samson captured by the Philistines. S. 1636. C. 95⅕ × 114⅘.

A. STRASSER.

Study of an Angel. 1655. P. 10⅖ × 9⅖.

BELGIUM

ANTWERP, MUSEUM.

Portrait of Henry Swalm, known as "Portrait of a Burgomaster." S. 1637. C. 55⅗ × 43⅗. [No. 705.]

The Young Fisher. S. 1659. P. 9⅓ × 7⅕ [No. 294.]

Saskia. C. 44⅘ × 33⅗. [No. 293.]

Portrait of an Old Jew. P. 9⅓ × 7⅗. [No. 295.]

BRUSSELS, DUC D'ARENBERG.

Tobias curing his Father's Blindness. S. 163—. P. 19⅕ × 15⅗.

COUNT MERODE-WESTERLOO.

St Peter repenting in Prison. S. 1631. P. 23⅖ × 19⅕.

MUSEUM.

Portrait of a Man. S. 1641. C. 42 × 33⅕. [No. 397.]

Portrait of an Old Woman. S. 1654. P. 27⅗ × 28. [No. 397a.]

BRITISH ISLES

LONDON. NATIONAL GALLERY.

Portrait of an Old Woman. S. 1634. P. 27 × 21. [No. 775.]

Portrait of a Man. S. 1635. C. 30⅛ × 22½. [No. 850.]

Ecce Homo. Grisaille. 1636. C. 21⅜ × 17¾. [No. 1400.]

Portrait of Rembrandt. S. 1640. C. 39 × 31½. [No. 672.]

The Woman taken in Adultery. S. 1644. P. 32½ × 25½. [No. 45.]

Adoration of the Shepherds. S. 1646. C. 25 × 22. [No. 47.]

A Woman Bathing. S. 1654. P. 24 × 18¼. [No. 54.]

Portrait of a Rabbi. S. 1657(?). C. 30 × 26. [No. 190.]

Portrait of an Old Man. S. 1659. C. 39 × 32¾. [No. 243.]

Portrait of a Monk. 1660. C. 34½ × 25½. [No. 166.]

Portrait of Rembrandt. 1664. C. 33 × 27½. [No. 221.]

Portrait of a Woman. S. 1666. C. 26¼ × 23¼. [No. 237.]

Portrait of a Jew Merchant. C. 53 × 41. [No. 51.]

Landscape. P. 22 × 34. [No. 72.]

Christ taken down from the Cross. P. 13 × 11. [No. 43.]

Portrait of a Burgomaster. C. 50½ × 38. [No. 1674.]

Portrait of an Old Lady. C. 50½ × 38. [No. 1675.]

HERTFORD HOUSE COLLECTION.

Portrait of Burgomaster Pellicorne and his Son Caspar. S. 1632. C. 61 × 48.

Suzanna van Collen, Wife of Pellicorne, and her Daughter. S. 1632. C. 61 × 48¼.

The Good Samaritan. 1632. P. 9¾ × 8.

Portrait of a Boy. S. 1633. Copper, 8 × 6¾.

Portrait of Himself. S. 1633-1635. P. 26 × 20.

Portrait of a Young Negro, known as the Black Archer. Oval. 1640. P. 26 × 20.

Landscape. 1640. P. 18 × 25.

Portrait of Himself. S. 1640. P. 25 × 19¼.

Portrait of Himself. 1660. 8½ × 6.

Portrait of Titus. 1658. C. 26½ × 22.

The Unmerciful Servant. 1664. C. 70½ × 86¼.

BUCKINGHAM PALACE.

The Shipbuilder and his Wife. S. 1633. C. 44 × 65. [No. 16.]

The Burgomaster Pancras and his Wife. Called Rembrandt and Saskia. S. 1635. C. 60 × 77. [No. 30.]

Christ and Mary Magdalene at the Tomb. S. 1638. P. 23½ × 19½. [No. 41.]

Portrait of a Lady. S. 1641. C. 41 × 33. [No. 162.]

Portrait of Rembrandt. S. 164—. P. 27 × 23. [No. 174.]

The Adoration of the Magi. S. 1657. P. 48 × 40½. [No. 154.]

A Jewish Rabbi. C. 30 × 38⅞. [No. 131.]

HAMPTON COURT.

Portrait of a Rabbi. S. 1635. P. 28 × 24. [No. 381.]

EDINBURGH. NATIONAL GALLERY.

A Young Woman in Bed. S. 1650. P. 32 × 26½.

DUBLIN. NATIONAL GALLERY.

Portrait of a Young Man. Said to be Louis van der Linden. 1631. P. 27 × 21½.

Shepherds reposing at Night. S. 1647. P. 13½ × 19. [No. 115.]

Descent From the Cross. S. 1650. C. 70 × 77½. Lent by the Duke of Abercorn.

Portrait of an Old Man. S. P. 24 × 18. [No. 48.]

GLASGOW. CORPORATION GALLERIES.

The Slaughter-house. S. 16—. P. 28 × 20. [No. 707.]

Tobias and the Angel. 1654. P. 29½ × 26. [No. 705.]

A Man in Armour. S. 1655. C. 53½ × 40½. [No. 706.]

The Painter's Study. P. 20 × 24. [No. 709.]

Jeremiah mourning over the Destruction of Jerusalem. C. 15½ × 12. [No. 714.]

Study of an Old Man. P. 9 × 8. [No. 711.]

Portrait of Rembrandt. P. 26 × 20. [No. 710.]

HUNTERIAN MUSEUM.

Entombment. 1634. P. 12⅘ × 16.

CAMBRIDGE. FITZWILLIAM MUSEUM.

Portrait of Rembrandt. S. 1650. C. 54 × 46⅖. [No. 152.]

DULWICH COLLEGE.

A Young Man. S. 1632. P. 11¼ × 9. [No. 189.]

A Young Girl at a Window. S. 1645. C. 31 × 25. [No. 206.]

WINDSOR CASTLE.

A Young Man. S. 1631. P. 25 × 19.

An Old Woman, known as the Countess of Desmond. 1631. P. 23½ × 18.

ALTHORP PARK. THE EARL SPENCER, K.G.

A Boy, formerly called a portrait of William III. P. 1660. C. 24½ × 21.

Woman with Flowers. 1660. C. 38 × 35½.

The Circumcision. P. 1661. C. 21½ × 28½.

Rembrandt's Mother. C. 56 × 39.

ASHRIDGE PARK. THE EARL BROWNLOW.

Portrait of a Jew. S. 1632. P. 27 × 23.

Portrait of a Man, said to be Peter Cornelius van Hooft, the poet. S. 1653. C. 55 × 52½.

Isaac and Esau. P. 22½ × 27.

Landscape. A very doubtful picture. P. 8 × 9½.

Portrait of an Old Woman. C. 29½ × 24½.

BASILDON PARK. CHARLES MORRISON.

Portrait of a Young Woman, called Rembrandt's daughter. S. 1665. C. 39½ × 33.

BELVOIR CASTLE. DUKE OF RUTLAND.

A Young Man. S. 1660. C. 31 × 26½.

BOWOOD. MARQUESS OF LANSDOWNE.

The Mill. 1654. C. 34 × 40½.

BRIGHTON. WILLIAM CHAMBERLIN.

Portrait of a Man-at-Arms. S. P. 26 × 20.

BROOM HALL, DUNFERMLINE. LORD ELGIN.

Portrait of Saskia. S. 1633. P. 26 × 19⅕.

CANFORD MANOR, WIMBORNE. LORD WIMBORNE.

St Paul. S. 1658.

Portrait of a Man. 1660.

CASTLE HOWARD. THE EARL OF CARLISLE.

Portrait of a Young Artist drawing. S. 164—. Life-size. 1648.

CHATSWORTH. DUKE OF DEVONSHIRE, K.G.

Portrait of a Rabbi. S. 1635. P. 40 × 31½.

DOWNTON CASTLE. A. R. BOUGHTON KNIGHT.

The Cradle. 1643-1645. P. 24 × 30½.

Portrait of a Man, known as "Rembrandt's Cook." S. 1661. C. 34 × 29½.

The Holy Family. P. 30 × 25.

DRAYTON MANOR. SIR ROBERT PEEL.

The Finding of Moses. 1635. C. oval, 18⅘ × 23⅗.

DUNCOMBE PARK. THE EARL OF FEVERSHAM.

A Merchant. S. 1659. C. 45 × 38.

EDINBURGH. ARTHUR SANDERSON.

His Mother in a Hood. 1630. P. 14⅖ × 12⅕.

Portrait of an Old Woman. S. 1635. C. 51⅗ × 39⅗.

RICHARD SAUNDERSON (in 1836).

Abraham receiving the Angels.

GLASGOW. WILLIAM BEATTIE.

Study of Himself. 1629. P. 10⅕ × 8⅗.

GOSFORD HOUSE. EARL OF WEMYSS AND MARCH.

A Monk reading. S. 1660. C. 29 × 24.

THE GRANGE, ALRESFORD. LORD ASHBURTON.

Portrait of a Man. 1635. P. 30 × 25.

Portrait of an Old Man. 1637. C. 48 × 37½.

Portrait of Lieven Willemsz van Coppenol. About 1650. P. 14 × 11.

Portrait of Rembrandt. About 1658. C. 30 × 25½.

Portrait of a Man, said to be Cornelius Jansenius. P. 32 × 26.

GRITTLETON. SIR A. D. NEELD, Bart.

Portrait of Rembrandt. S. 1660. C. 23½ × 20.

Portrait of a Burgomaster. S. P. 15 × 12.

HINTON ST GEORGE. THE EARL POULETT.

Portrait of a Boy. S. 1628.

KEDDLESTON HALL. REV. LORD SCARSDALE.

Portrait of an Old Man. S. 1645. C. 34 × 27.

KNOWSLEY HALL. THE EARL OF DERBY, K.G.

The Feast of Belshazzar. 1636. Doubtful Rembrandt. C. 65 × 81½.

LONDON. W. C. ALEXANDER.

Rembrandt's Mother. 1628. P. 8¾ × 6¾.

The Painter's Sister. Doubtful. C. 27 × 20½.

WENTWORTH B. BEAUMONT.

The Tribute Money. S. 1645. C. 25 × 33½.

ALFRED BEIT.

St Francis Praying. S. 1637. P. 23⅕ × 18⅘.

Portrait of a Young Man. 1660. C. 40 × 32½.

R. B. BERENS.

Portrait of the Painter. An early work. P. 24 × 18

BRIDGEWATER HOUSE. EARL OF ELLESMERE.

A Young Woman, aged 18. S. 1634. P. 27½ × 21.

A Young Woman. Oval. 1635.

Portrait of a Burgomaster, or, a Minister. S. 1637. C. 52 × 38.

Hannah hearing the Young Samuel repeat his Prayers. S. 1648. P. 16 × 18.

Study of an Old Man. 1655.

Portrait of Rembrandt. S. 165—. C. 26½ × 20¾.

MONTAGUE HOUSE. DUKE OF BUCCLEUCH, K.G.

Portrait of Saskia. S. 1633. C. 48½ × 38½.

Portrait of an Old Woman. S. 1655. C. 31½ × 26.

Portrait of Rembrandt. S. 1659. C. 31 × 25½.

BARONESS BURDETT-COUTTS.

A Forest Scene. P. 16 × 14.

W. C. CARTWRIGHT.

Dead Peacocks. S. 1640. C. 54 × 50½.

THE EARL OF CRAWFORD, K.G.

Portrait of Titus. S. 1655. C. 29½ × 24½.

THE EARL OF DERBY, K.G.

A Rabbi. S. 1635. P. 28 × 21.

Joseph's Coat. 1647. C. 48 × 38.

DEVONSHIRE HOUSE. THE DUKE OF DEVONSHIRE, K.G.

An Old Man. S. 1651. C. 28½ × 25.

An Old Man. S. 1652. C. 43 × 34.

GEORGE C. W. FITZWILLIAM.

Portrait of a Man. 1632. P. 22½ × 18½.

F. FLEISCHMANN.

Rembrandt's Father. S. 1631. P. 23 × 19½.

ALEXANDER HENDERSON.

Burgomaster Six. 1655. C. 36½ × 29.

Portrait of his Wife, Margaretha, Daughter of Dr. Tulp. S. 1655. P. 36½ × 29.

CAPTAIN HEYWOOD-LONSDALE.

Portrait of Rembrandt. S. 1635 or 8. P. 25 × 20.

DORCHESTER HOUSE. CAPTAIN G. L. HOLFORD.

Martin Looten. S. 1632. P. 36 × 29½.

A Man with a Sword. S. 1644. C. 39 × 34.

Portrait of a Lady, incorrectly called the wife of Jan Sylvius. 1645. C. 49 × 40.

Portrait of Titus. S. 1660. C. 29 × 24½.

LORD FRANCIS PELHAM HOPE. (Collection sold in 1898.)

A Lady and Gentleman. S. 1633. C. 51 × 42.

The Ship of St Peter. S. 1635. C. 63 × 50.

THE EARL OF HOPETOUN.

Rembrandt's Mother. Oval. P. 27 × 21.

R. W. HUDSON.

An Old Man. S. 1635. P. 26⅘ × 21⅗.

THE EARL OF ILCHESTER.

Portrait of Rembrandt. S. 1658. C. 51½ × 40.

VICTORIA AND ALBERT MUSEUM.

Abraham dismissing Hagar and Ishmael. S. 1640. P. 15 × 20½.

LORD IVEAGH.

Portrait of a Woman. S. 1642. C. 42 × 36.

Portrait of Rembrandt. 1663. C. 45 × 37½.

MRS JOSEPH.

Portrait of Saskia. S. 1636. P. 26 × 20½.

LESSER (1893).

Portrait of an Old Woman. S. 1635. C.

COLONEL LINDSAY (1893).

Portrait of a Very Old Woman. S. 1660. C. 30 × 25⅖.

MRS ALFRED MORRISON.

Portrait of Dr Bonus. S. 1642. C. 41 × 30.

DUKE OF NEWCASTLE.

Portrait of an Orator. C. 37½ × 29½.

THE EARL OF NORTHBROOK.

Landscape. 1640. P. 8½ × 11.

Portrait of an Old Man. S. 1667. C. 27 × 22½.

LORD PENRHYN.

Portrait of Catrina Hoogh. S. 1657. C. 49½ × 38½.

JAMES REISS

Landscape. P. 11½ × 16.

MRS OWEN ROE.

Portrait of a Man. C. 40 × 33.

LADY DE ROTHSCHILD.

Portrait of Rembrandt. S. 1656. C. 35 × 28.

EDWARD H. SCOTT.

Rembrandt's Father's Mill. C. 32½ × 42.

COLONEL STERLING.

Portrait of a Man. C. 23 × 17.

STEPHEN TUCKER.

The Angel departing from Tobit. P. 25½ × 19½.

SIR CHARLES TURNER.

Portrait of a Girl. 1650. P. 8⅖ × 7⅕.

LORD WANTAGE.

Portrait of an Old Woman. S. 1661. C. 29½ × 25.

T. HUMPHRY WARD.

An Old Man. 1630 or 1658. C. 20 × 14¾.

A Young Man. S. 1646. C. 28 × 23.

The Dismissal of Hagar. P. 26 × 22½.

GROSVENOR HOUSE. DUKE OF WESTMINSTER, K.G.

The Salutation. [No. 33.] S. 1640. P. 22 × 18½.

Portrait of a Gentleman with a Hawk. [No. 14.] S. 1643. C. 44 × 37½.

A Lady with a Fan. [No. 15.] S. 1643. C. 44 × 37½.

Portrait of Nicholas Berchem. [NO. 19.] S. 1647. Cedar panel, 28½ × 25½.

Portrait of his Wife. [No. 20], the daughter of Jan Wils. S. 1647. Cedar panel, 28½ × 25.

Portrait of Rembrandt. P. 15½ × 11½.

Landscape. [No. 83.] P. 39 × 61.

HENRY WILLETT.

Portrait of a Man. P. 20 × 17.

SIR MATTHEW WILSON.

Portrait of a Lady. Oval. P. 27 × 21.

THE EARL OF YARBOROUGH.

Portrait of an Old Lady. 1637. P. 40½ × 35.

NEW HALL, BODENHAM. ALFRED BUCKLEY.

Sketch of a Man's Head. P. 9 × 7.

PANSHANGER. THE EARL COWPER, K.G.

Portrait of a Man. S. 1644. C. 44½ × 42.

Portrait of Marshal Turenne. 1649. C. 113 × 94.

Head of a Man. P. 12½ × 9½.

PETWORTH. LORD LECONFIELD.

Portrait of the Painter's Sister. S. 1631. P. 25 × 18½.

Portrait of Rembrandt. S. 1632. Oval. P. 25 × 18½.

Portrait of a Lady. S. 1635. C. 49 × 39½.

Portrait of a Youth. S. 1666. C. 29 × 24.

Girl with a Rosebud. S. P. 32 × 25.

RICHMOND. THE EXECUTORS OF THE LATE SIR FRANCIS COOK.

The Painter's Sister. S. 1632. Oval. P. 27 × 21.

Portrait of Alotte Adriaans, Wife of Elias Van Trip. S. 1639. P. 25½ × 22.

Tobit and His Wife. S. 1650. P. 16¼ × 21¼.

Study of an Old Man. P. 13½ × 10½.

The Prodigal Son. S. 1634. A very doubtful picture. C. 51 × 66.

ROSSIE PRIORY, INCHTURE, PERTHSHIRE. LORD KINNAIRD.

Portrait of a Young Woman. S. 1636.

Portrait of Rembrandt. S. 1661. C. 36 × 30.

WELBECK ABBEY, NOTTS. DUKE OF PORTLAND.

Head of a Boy. S. 1634. P. 17 × 14.

WILTON HOUSE. THE EARL OF PEMBROKE.

An Old Woman Reading. S. 1631. C. 29 × 24.

WOBURN ABBEY. DUKE OF BEDFORD.

Portrait of an Old Man. 1632.

Portrait of Rembrandt. 1635. C. 34½ × 30½.

PRESENT OWNERS UNKNOWN.

Portrait of a Saint. S. 1635. C. 43 × 38.

Portrait of a Lady. P. 29½ × 23.

Landscape. C. 14 × 18½.

DENMARK.

COPENHAGEN. NEW CARLSBERG GLYPTOTEK.

Man Reading. 1645. C. 24½ × 28.

COUNT MOLTKE.

Portrait of an Old Woman. [NO. 32.] 1654. C.

COPENHAGEN. MUSEUM.

Christ at Emmaus. [No. 292.] S. 1648. C. 33½ × 42½.

Portrait of a Young Man. [No. 273.] S. 1656. C. 29 × 25.

Portrait of a Young Woman. [No. 274.] Companion to the last. S. 1656. C. 29 × 25.

FRANCE.

PARIS. THE LOUVRE.

A Philosopher in Meditation. [No. 2540, Grand Gallery.] S. 1633. P. 11⅗ × 13⅕.

A Philosopher in Meditation. [No. 2541, Grand Gallery.] 1633. P. 11⅕ × 9⅕.

Portrait of Rembrandt. [No. 2552, Salle XV.] S. 1633. C. 23⅕ × 18.

Portrait of Rembrandt. [No. 2553, Grand Gallery.] S. 1634. P. 27⅕ × 21⅕.

The Angel Raphael leaving Tobit. [No. 2536, Grand Gallery.] S. 1637. P. 27⅕ × 20⅘.

Portrait of Rembrandt. [No. 2554, Grand Gallery.] S. 1637. P. 32 × 24⅘.

Portrait of an Old Man. [No. 2544, Grand Gallery.] S. 1638. Oval. P. 36 × 22⅖.

The Carpenter's Home. [No. 2542, Salon Carré.] S. 1640. P. 16⅖ × 13⅗.

A Woman Bathing. [No. 2550, Salle Lacaze.] 1647. P. 24⅘ × 19⅕.

Christ at Emmaus. [No. 2539, Salon Carré.] S. 1648. P. 27⅕ × 26.

The Good Samaritan. [No. 2537, Grand Gallery.] S. 1648. P. 45⅗ × 54.

Portrait of a Man. [No. 2551, Salle Lacaze.] S. 1651. C. 33⅕ × 26⅖.

Portrait of Hendrickje Stoffels. [No. 2547, Salon Carré.] P. about 1652. C. 28⅘ × 24.

Bathsheba, or a Woman bathing. [No. 2549, Salle Lacaze.] S. 1654. C. 56⅘ × 56⅘.

Portrait of a Man. [No. 2546, Grand Gallery.] 1655. P. 10⅖ × 7⅗.

The Slaughter-house. [No. 2548, Grand Gallery.] S. 1655. P. 37⅗ × 27⅗.

Portrait of a Young Man. [No. 2545, Salon Carré.] S. 1658. C. 29⅕ × 24⅖.

Portrait of Rembrandt. [No. 2555, Salon Carré.] S. 1660. C. 44⅖ × 34.

Saint Matthew. [No. 2538, Grand Gallery.] S. 1661. C. 38⅖ × 32⅖.

Venus and Cupid. [No. 2543, Grand Gallery.] 1661. C. 44 × 35⅕.

ÉPINAL. MUSEUM.

Portrait of an Old Woman. [No. 101.] S. 1661. C. 45⅗ × 32.

NANTES. MUSEUM.

Portrait of Rembrandt's Father. [No. 522, attributed to van Vliet.] 1628. P. 7 × 5⅖.

PARIS. MME. ANDRÉ-JACQUEMART.

Christ at Emmaus. S. R.H. 1629. Paper on panel 15⅗ × 16⅘.

Portrait of Lysbeth van Rijn. S. 1632. C. 26 × 20⅖.

Portrait of Arnold Tholinx. S. 1656. C. 30⅖ × 25⅕.

LÉON BONNAT.

Petitioners To a Biblical King. 1633. P. 11⅖ × 10⅗.

Jean Six at a Window. Very doubtful. P. 10 × 8.

Figure of Susannah. Oval. 1647. P. 8⅘ × 7.

Tasters in a Cellar. 1650. P. 19⅘ × 25⅕.

Portrait of an Old Man. 1650. P. 22 × 17⅗.

Portrait of a Rabbi. 1655. P. 8⁷⁄₂₅ × 9³⁹⁄₅₀.

Head of an Old Man. 1660. P. 10 × 8⅘.

MARQUIS BONI DE CASTELLANE.

Portrait of Nicholas Ruts. S. 1631. P. 46 × 34½.

PRINCE DE CHALAIS.

Portrait of a Man.

LÉON GAUCHEZ.

Lucretia. S. 1664. C. 46⅖ × 39⅕.

LEOPOLD GOLDSCHMIDT.

Portrait of a Woman. Called Rembrandt's cook. 1655. C. 29⅘ × 24⅗.

HARJES.

Old Man With a White Beard. C. 25⅕ × 23⅕.

BARONESS HIRSCH-GEREUTH (THE LATE).

Portrait of his Sister, or Saskia. Oval. S. 1633. P. 23 × 17⅗.

MAURICE KANN.

Head of Christ. 1660. C. 18⅗ × 14⅘.

A Man in a Red Cloak. S. 1659. P. 15⅖ × 12⅖.

Portrait of a Man. P. between 1666 and 1668. C. 36⅖ × 29⅘.

RODOLPHE KANN.

Head of Christ. 1652. P. 10⅖ × 8.

Portrait of Titus. S. 1655. C. 31⅗ × 23⅗.

Portrait of a Rabbi. 1655. P. 10 × 7⅘.

Portrait of an Old Woman. S. 1657. P. 8⅘ × 7⅕.

Old Woman cutting her Nails. S. 1658. C. 50⅖ × 40.

Portrait of a Young Woman. 1668. C. 37⅕ × 29⅕.

MME. LACROIX.

Landscape, with Swans. 1645. C. 25⅗ × 17⅕.

ALBERT LEHMANN.

Zachariah receiving the Prophecy of the Birth of John the Baptist. S. 1632. P. 22⅖ × 19⅕.

PAUL MATHEY.

Head of an Old Man. P. 20 × 24.

HENRY PEREIRE.

Portrait of a Man. S. 1632. P. 24 × 18⅘.

Portrait of Cornelia Pronck. Wife of the man. S. 1633. P. 24 × 18⅘.

JULES PORGÈS.

The Good Samaritan. S. 1639. C. 38⅕ × 50.

Portrait of a Rabbi. S. 1642. P. 30 × 24⅖.

An Old Woman meditating over a Book. 1649. C. 39⅕ × 31⅕.

Portrait of Rembrandt's Brother. 1650. P. 22⅖ × 17⅕.

Portrait of a Woman holding a Book. 1650. P. 22⅖ × 17⅕.

COUNTESS EDMOND DE POURTALÈS.

Portrait of a Young Man rising from a Chair. S. 1633. C. 50 × 40.

BARON ALPHONSE DE ROTHSCHILD.

Portrait of an Old Woman. S. 1632. P. 30⅗ × 23.

BARON GUSTAVE DE ROTHSCHILD.

Portrait of Martin Daey. S. 1634. C. 82⅘ × 52⅘.

Portrait of Machteld van Doorn, Wife of Martin Daey. C. 82⅘ × 52⅘.

The Standard-Bearer. S. 1636. C. 50 × 42.

BARONESS NATHANIEL DE ROTHSCHILD.

Portrait of a Boy. S. 1633. P. 17⅗ × 13⅕.

BARON N. DE ROTHSCHILD.

Portrait of Anthoni Copal. S. 1635. P. 33⅕ × 26⅘.

DURAND RUEL.

David playing before Saul. 1663. C. 52⅕ × 65⅗.

BARON ARTHUR DE SCHICKLER.

Judas with the Price of the Betrayal. 1629. C. 31⅗ × 41⅕.

A. SCHLOSS.

Portrait of Saskia. Oval. 1634. P. 26⅘ × 21.

Old Man. S. 1643. P. 10 × 7⅗.

HENRI SCHNEIDER.

Hans Alenson. S. 1634. C. 71⅕ × 52⅘.

The Wife of Alenson. S. 1634. C. 71⅕ × 52⅘.

CHARLES SEDELMEYER.

Pilate washing his Hands. 1656. C. 51⅕ × 72.

CHARLES WALTNER.

An Old Rabbi. 1654-56. C. 32⅘ × 26.

E. WARNECK.

Diana bathing. 1631. P. 7⅕ × 6⅘.

Rembrandt laughing. S. 1633. P. 8⅕ × 7.

Study of a Rabbi. 1650 To 1655. P. 8⅘ × 7⅖.

Study of a Young Boy. 1654. P. 9⅕ × 7⅘.

DR MELVIL WASSERMANN.

Study of his Father. 1630. P. 11⅖ × 9⅕.

Portrait of an Old Man. 1633. P. 10⅖ × 8⅖.

ROUEN. M. DUTUIT.

Portrait of Rembrandt. S. 1631. P. 32⅖ × 21⅗.

TOURS. MUSEUM.

Portrait of His Father. [No. 437.] A copy of the one in the Museum at Nantes. 1628. P. 6 × 4.