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Rembrandt, With a Complete List of His Etchings
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Rembrandt, With a Complete List of His Etchings

by Hind Arthur Mayger

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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

Contents

  • REMBRANDT
  • BOOKS OF REFERENCE
  • A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS

Illustrations

  • 144,
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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 r.; 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
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    href="@public@vhost@g@gutenberg@html@files@31183@[email protected]#fig27" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">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, r. Only nine impressions of this state are known, two being in the British Museum
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    class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">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 l. 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
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    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