[pg 21]
1, I, REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.
1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.
[pg 23]
7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164
7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164
[pg 25]
20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66
20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66
[pg 27]
23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile r.; head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink
23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile r.; head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink
[pg 29]
38, II. THE BLIND FIDDLER. 1631. B. 138
38, II. THE BLIND FIDDLER. 1631. B. 138
[pg 31]
40139164. 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
40. THE LITTLE POLANDER. 1631. B. 142. 139. THE QUACKSALVER. 1635. B. 129. 164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133
[pg 33]
52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.
52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.
[pg 35]
54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the body added.
54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the body added.
[pg 37]
57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2
57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2
[pg 39]
97, I. THE RAT-KILLER. 1632. B. 121
97, I. THE RAT-KILLER. 1632. B. 121
[pg 41]
110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was afterwards cut down to a bust in an oval.
110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was afterwards cut down to a bust in an oval.
[pg 43]
112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347
112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347
[pg 45]
127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state
127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state
[pg 47]
129. OLD WOMAN SLEEPING. (1635-7.) B. 350.
129. OLD WOMAN SLEEPING. (1635-7.) B. 350.
[pg 49]
147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91
147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91
[pg 51]
151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268
151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268
[pg 53]
153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only
153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only
[pg 55]
161, I. THE DEATH OF THE VIRGIN. 1639. B. 99
161, I. THE DEATH OF THE VIRGIN. 1639. B. 99
[pg 57]
167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated
167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated
[pg 59]
168, I. REMBRANDT LEANING ON A STONE SILL. 1639. B. 21 From an impression touched by the artist in black chalk
168, I. REMBRANDT LEANING ON A STONE SILL. 1639. B. 21 From an impression touched by the artist in black chalk
[pg 61]
172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40
172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40
[pg 63]
175. SMALL GREY LANDSCAPE. (1640.) B. 207. 196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359
175. SMALL GREY LANDSCAPE. (1640.) B. 207. 196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359
[pg 65]
176, II. VIEW OF AMSTERDAM. (1640.) B. 210
176, II. VIEW OF AMSTERDAM. (1640.) B. 210
[pg 67]
179. THE WINDMILL. 1641. B. 233
179. THE WINDMILL. 1641. B. 233
[pg 69]
184. THE SPANISH GIPSY. (1641.) B. 120
184. THE SPANISH GIPSY. (1641.) B. 120
[pg 71]
198, I. THE RAISING OF LAZARUS. 1642. B. 72
198, I. THE RAISING OF LAZARUS. 1642. B. 72
[pg 73]
205. THE THREE TREES. (1643.) B. 212
205. THE THREE TREES. (1643.) B. 212
[pg 75]
209, I. SIX'S BRIDGE. 1645. B. 208
209, I. SIX'S BRIDGE. 1645. B. 208
[pg 77]
215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84
215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84
[pg 79]
216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58
216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58
[pg 81]
228, II. JAN SIX. 1647. B. 285
228, II. JAN SIX. 1647. B. 285
[pg 83]
229, I. REMBRANDT DRAWING AT A WINDOW. 1648. B. 22. Unfinished state.
229, I. REMBRANDT DRAWING AT A WINDOW. 1648. B. 22. Unfinished state.
[pg 85]
231, I. THE ARTIST DRAWING FROM A MODEL, (1648, or later?) B. 192. Unfinished plate
231, I. THE ARTIST DRAWING FROM A MODEL, (1648, or later?) B. 192. Unfinished plate
[pg 87]
232, I. ST. JEROME BESIDE A POLLARD WILLOW. 1648. B. 103
232, I. ST. JEROME BESIDE A POLLARD WILLOW. 1648. B. 103
[pg 89]
234, I. JEWS IN SYNAGOGUE. 1648. B. 126
234, I. JEWS IN SYNAGOGUE. 1648. B. 126
[pg 91]
236, I. CHRIST, WITH THE SICK AROUND HIM, RECEIVING LITTLE CHILDREN (The “Hundred Guilder Print”). (1649.) B. 74. First state, before adding shading on the neck of the ass, r. Only nine impressions of this state are known, two being in the British Museum
236, I. CHRIST, WITH THE SICK AROUND HIM, RECEIVING LITTLE CHILDREN (The “Hundred Guilder Print”). (1649.) B. 74. First state, before adding shading on the neck of the ass, r. Only nine impressions of this state are known, two being in the British Museum
[pg 93]
239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236
239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236
[pg 95]
242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213
242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213
[pg 97]
244, III. LANDSCAPE WITH TREES, FARM BUILDINGS AND A TOWER. (1650.) B. 223. The two earlier states show the tower surmounted by a. cupola, which was burnished out to increase the concentration of the subject
244, III. LANDSCAPE WITH TREES, FARM BUILDINGS AND A TOWER. (1650.) B. 223. The two earlier states show the tower surmounted by a. cupola, which was burnished out to increase the concentration of the subject
[pg 99]
249. THE GOLDWEIGHER'S FIELD. 1651. B. 234
249. THE GOLDWEIGHER'S FIELD. 1651. B. 234
[pg 101]
251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272
251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272
[pg 103]
252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651. B. 42
252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651. B. 42
[pg 105]
254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113
254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113
[pg 107]
256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67
256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67
[pg 109]
257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65
257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65
[pg 111]
261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11
261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11
[pg 113]
264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221
264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221
[pg 115]
267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104
267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104
[pg 117]
270, I. THE THREE CROSSES. 1653. B. 78. First state
270, I. THE THREE CROSSES. 1653. B. 78. First state
[pg 119]
270, IV. THE THREE CROSSES. 1653. B. 78. Fourth state. The plate entirely transformed: ihe figures in the middle and foreground, l., almost entirely effaced; a new group added l. of the central cross,
270, IV. THE THREE CROSSES. 1653. B. 78. Fourth state. The plate entirely transformed: ihe figures in the middle and foreground, l., almost entirely effaced; a new group added l. of the central cross,
[pg 121]
271, I. CHRIST PRESENTED TO THE PEOPLE. 1655. B 76. First state
271, I. CHRIST PRESENTED TO THE PEOPLE. 1655. B 76. First state
[pg 123]
271, V. CHRIST PRESENTED TO THE PEOPLE. 1655. B. 76. Fifth state, all the foreground figures in front of the tribune erased, concentrating the subject on the central figure
271, V. CHRIST PRESENTED TO THE PEOPLE. 1655. B. 76. Fifth state, all the foreground figures in front of the tribune erased, concentrating the subject on the central figure
[pg 125]
275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63
275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63
[pg 127]
279. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. (1654.) B. 50.
279. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. (1654.) B. 50.
[pg 129]
281, I. THE ENTOMBMENT. (1654.) B. 86. The Print is greatly darkened in its later states
281, I. THE ENTOMBMENT. (1654.) B. 86. The Print is greatly darkened in its later states
[pg 131]
282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87
282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87
[pg 133]
286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29
286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29
[pg 135]
287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274
287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274
[pg 137]
288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 1655. B. 275
288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 1655. B. 275
[pg 139]
289, I. ARNOLD THOLINX. (1656.) B. 284. This first state, before the addition of further lines of shading on the breast, is only known in two impressions (British Museum, and Baron Edmond de Rothschild, Paris)
289, I. ARNOLD THOLINX. (1656.) B. 284. This first state, before the addition of further lines of shading on the breast, is only known in two impressions (British Museum, and Baron Edmond de Rothschild, Paris)
[pg 141]
290, I. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background
290, I. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background
[pg 143]
303, I. THE WOMAN WITH THE ARROW. 1661. B. 202
303, I. THE WOMAN WITH THE ARROW. 1661. B. 202

PRINTED AT THE BALLANTYNE PRESS LONDON