Rembrandt, With a Complete List of his Etchings
Arthur M. Hind
Fredk. A. Stokes Company
1912
144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
Contents
REMBRANDT
BOOKS OF REFERENCE
A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS
Illustrations
144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.
7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164
20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66
23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile
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head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink
38, II. THE BLIND FIDDLER. 1631. B. 138
40. THE LITTLE POLANDER. 1631. B. 142. 139. THE QUACKSALVER. 1635. B. 129. 164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133
52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.
54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the body added.
57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2
97, I. THE RAT-KILLER. 1632. B. 121
110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was afterwards cut down to a bust in an oval.
112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347
127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state
129. OLD WOMAN SLEEPING. (1635-7.) B. 350.
147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91
151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268
153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only
161, I. THE DEATH OF THE VIRGIN. 1639. B. 99
167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated
168, I. REMBRANDT LEANING ON A STONE SILL. 1639. B. 21 From an impression touched by the artist in black chalk
172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40
175. SMALL GREY LANDSCAPE. (1640.) B. 207. 196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359
176, II. VIEW OF AMSTERDAM. (1640.) B. 210
179. THE WINDMILL. 1641. B. 233
184. THE SPANISH GIPSY. (1641.) B. 120
198, I. THE RAISING OF LAZARUS. 1642. B. 72
205. THE THREE TREES. (1643.) B. 212
209, I. SIX'S BRIDGE. 1645. B. 208
215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84
216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58
228, II. JAN SIX. 1647. B. 285
229, I. REMBRANDT DRAWING AT A WINDOW. 1648. B. 22. Unfinished state.
231, I. THE ARTIST DRAWING FROM A MODEL, (1648, or later?) B. 192. Unfinished plate
232, I. ST. JEROME BESIDE A POLLARD WILLOW. 1648. B. 103
234, I. JEWS IN SYNAGOGUE. 1648. B. 126
236, I. CHRIST, WITH THE SICK AROUND HIM, RECEIVING LITTLE CHILDREN (The “Hundred Guilder Print”). (1649.) B. 74. First state, before adding shading on the neck of the ass,
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Only nine impressions of this state are known, two being in the British Museum
239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236
242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213
244, III. LANDSCAPE WITH TREES, FARM BUILDINGS AND A TOWER. (1650.) B. 223. The two earlier states show the tower surmounted by a. cupola, which was burnished out to increase the concentration of the subject
249. THE GOLDWEIGHER'S FIELD. 1651. B. 234
251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272
252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651. B. 42
254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113
256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67
257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65
261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11
264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221
267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104
270, I. THE THREE CROSSES. 1653. B. 78. First state
270, IV. THE THREE CROSSES. 1653. B. 78. Fourth state. The plate entirely transformed: ihe figures in the middle and foreground,
l.
, almost entirely effaced; a new group added
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of the central cross,
271, I. CHRIST PRESENTED TO THE PEOPLE. 1655. B 76. First state
271, V. CHRIST PRESENTED TO THE PEOPLE. 1655. B. 76. Fifth state, all the foreground figures in front of the tribune erased, concentrating the subject on the central figure
275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63
279. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. (1654.) B. 50.
281, I. THE ENTOMBMENT. (1654.) B. 86. The Print is greatly darkened in its later states
282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87
286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29
287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274
288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 1655. B. 275
289, I. ARNOLD THOLINX. (1656.) B. 284. This first state, before the addition of further lines of shading on the breast, is only known in two impressions (British Museum, and Baron Edmond de Rothschild, Paris)
290, I. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background
303, I. THE WOMAN WITH THE ARROW. 1661. B. 202