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THE DE VINNE PRESS 
 
INTRODUCTION 
 
 ONE is almost tempted to say that 
 etching came more naturally to 
 Eembrandt than painting, because 
 unquestionably a student of our day finds 
 much greater pleasure in the paintings done 
 toward the close of Rembrandt's career 
 than in those of his earlier years, while in 
 the case of the etchings, although his earlier 
 and later styles are very different, one can 
 not say that the early plates are not in their 
 way quite as beautiful as the later ones. 
 
 In studying the work of any artist it is 
 well to distinguish between those subjects 
 which it paid him to produce and those 
 which he lost both time and money in pro- 
 ducing. It seems probable that the etchings 
 of Rembrandt belong almost entirely to the 
 latter class and that his work in etching was 
 much less influenced by the thought of pub- 
 lic approval than his work in painting. In 
 etching his marvelous freedom must have 
 seemed very rough and sketchy to a public 
 brought up on the traditions of Schongauer, 
 Diirer, and the Little Masters, and it is 
 probable that the vast majority of his plates 
 were done more to please himself than to 
 please the public. 
 
 Of the three main classes of Rembrandt's 
 etched work— the Scriptural pieces, the 
 
 3 
 
portraits and the landscapes— the Scrip- 
 tural pieces were at that time the most 
 fashionable and it is probable that Bem- 
 brandt's plates of such subjects paid him 
 better on the whole than any of the others. 
 Some of his very greatest plates were Bib- 
 lical subjects and the greatest of all, the 
 Hundred Guilders 9 Print, comes into this 
 class. It was a deeply religious era and the 
 Biblical prints were just as true an expres- 
 sion of the feeling of the time as the more 
 frivolous subjects were an expression of 
 the feeling of the eighteenth century. Even 
 among the Scriptural plates it is probable 
 that no roughly done etching such as the 
 Sacrifice of Abraham, or the Triumph of 
 Mordecai, or Tobit Blind, was done to please 
 the public. If that had been what Eem- 
 brandt had in mind he would probably have 
 employed a much more careful style. The 
 plates which one suspects of being conces- 
 sions to public opinion are those large sub- 
 jects which Eembrandt began but which 
 seem unquestionably to have been finished 
 by his pupils to satisfy the popular taste, 
 such plates as the great Ecce Homo (Bartsch 
 No. 77), and The Descent from the Cross 
 (Bartsch No. 81). It would obviously have 
 been madness to think of pleasing the pop- 
 ular taste of the time with such a plate as 
 The Three Crosses or Christ at Emmaus. 
 On the other hand we know (from its tradi- 
 tional name of the Hundred Guilders' Print) 
 that the plate of Christ Healing the Sick 
 was as greatly beloved then as it is now and 
 it is a work of such astounding force and 
 
 4 
 
truth that one has only to look at it to see 
 that it is a work of direct inspiration. 
 
 Every one knows that much of the great- 
 est work of any man is produced under the 
 spur of necessity, but it is perhaps stating 
 it fairly to say that while a picture of a sub- 
 ject which is in fashion at the time may be a 
 great and inspired work, it may also be a 
 " pot-boiler,' ' while a portrait of a poor 
 member of the artist's family or a subject 
 of a class which is decidedly out of fashion 
 can only have been done because the artist 
 loved to do it and felt himself inspired at 
 just that moment to do just that subject. 
 
 The portraits of great people may have 
 been done for money but certainly were not 
 always done for that reason. Material con- 
 siderations had nothing to do with the lov- 
 ing care with which Rembrandt executed the 
 portrait of Jan Six, who was perhaps his 
 best friend in the world, and a portrait of 
 such a comparatively unimportant man as 
 Jan Lutma must clearly have been done 
 for love and as in the case of the Hundred 
 Guilders' Print one has only to look at the 
 portrait to see that it is so. 
 
 Finally, the landscape etchings are so 
 supremely beautiful, so spontaneous, and 
 so marvelously ahead of Rembrandt's time 
 that it is obvious that they must have been 
 done simply for his own satisfaction and 
 because, in fact, he could not help doing 
 them. 
 
 David Keppel. 
 
 November 7th, 1907. 
 
 5 
 
Digitized by the Internet Archive 
 in 2014 
 
 https://archive.org/details/catalogueofexhibOOfred 
 
CATALOGUE 
 
 1 Rembrandt with a Scarf. (Bartsch No. 17) 
 
 Dated 1633. The third state of five, before the gray 
 spots appeared on the hat and over the left eye. 
 
 2 Rembrandt Drawing. (Bartsch No. 22) 
 
 Dated 1648. Proof with the landscape seen through 
 the window, but before the back of the large book 
 was divided in two by a horizontal shadow, making 
 it appear like two thinner books placed one on top 
 of the other. 
 
 Superb impression. Duplicate from the Berlin 
 public collection and also from the Thiermann and 
 Ellingwood collections. 
 
 3 Abraham Entertaining the Three Angels. 
 
 (Bartsch No. 29) 
 
 Dated 1656. The only state. 
 
 1 Abraham sending away Hagar. (Bartsch No. 30) 
 
 Dated 1637. The only state. Wide margin. 
 "All the qualities of Rembrandt are \mited to a high degree in 
 this print : beauty of expression, arrangement, delicacy, rich- 
 ness of detail, and chiaroscuro." Charles Blanc. 
 "This is one of the most perfectly delicate of all Rembrandt's 
 etchings. The sureuess of the faint, thin lines on which the 
 expression of the face chiefly depends, the masterly reservation 
 of reflections and half-lights in open shading, the opportune 
 omission of labor where omission was better than toil, justify 
 our admiration." 
 
 P. G-. Hamerton : Etching and Etchers, pages 82-83. 
 
 5 Abraham's Sacrifice. (Bartsch No. 35) 
 
 Dated 1655. The only state. 
 
 ' ' By its grandeur and originality of invention and composition 
 it may well take rank as one of Rembrandt's finest plates." 
 
 " Independently of its very fine composition, and the magnifi- 
 cent style in the drawing of Abraham and the Angel, this plate 
 may be easily recommended as a fine example of the free etched 
 line which is everywhere perfectly frank and full of vital 
 energy." P. G. Hamerton. 
 
 6 Joseph Relating His Dream. (Bartsch No. 37) 
 
 Dated 1638. Early impression before the almost 
 vertical shading on the table-top. 
 
 7 The Triumph of Mordecai. (Bartsch No. 40) 
 
 Assumed date 1640. 
 
 7 
 
8 Tobit Blind. (Bartsch No. 42) 
 
 Dated 1651. Early impression before the plate was 
 entirely cleaned. 
 
 " There are a few remarkably good etchings of 1651. First the 
 wonderfully delicate little print of The Blind Tobit, the most 
 striking and affecting picture of the helplessness of a man 
 struck blind." Knackfuss : Rembrandt, page 118. 
 
 " . . . one of his most touching biblical illustrations Tobit 
 Blind, with the Bog, a work in which the mental conception, 
 which is most pathetic, is everything, and the manual perform - 
 ance so simple, so devoid of all pretension, that it requires 
 some knowledge of etching to recognize the strength of the 
 
 maSt P. G. Hamerton : Etchings of Rembrandt, page 44. 
 
 9 Angels Announcing the Birth of Christ. (Bartsch No. 44) 
 
 Dated 1634. The effect of this print almost entirely 
 depends upon the clearness of the nocturne land- 
 scape in the distance to the left. 
 
 "These great scenes from the Bible, no one has conceived 
 them better than Rembrandt, and no one felt more keenly 
 their touching and simple poetry. The Apparition of the Angels 
 to the Shepherds has been the subject of many pictures ; but 
 how often does one rest indifferent to the representations of 
 this marvelous scene ! Rembrandt finds here occasion to show 
 the two most astounding sides of his genius ; expression and 
 chiaroscuro." Charles Blanc. 
 
 "The effect of this superb print is wonderful. Pine impres- 
 sions of it are rare. ' ' Bartsch. 
 
 10 The Adoration of the Shepherds. (Bartsch No. 46) 
 
 Assumed date 1652. An extremely fine rich im- 
 pression in the finished state. 
 
 11 The Flight into Egypt; A Night Piece. (Bartsch No. 53) 
 
 Dated 1651. Extremely fine impression. It is 
 from the collection of Sir Seymour Haden and bears 
 his autograph at the back. 
 
 1 2 Flight into Egypt ; The Holy Family Crossing a Rill. 
 
 (Bartsch No. 55) 
 
 Dated 1654. The only state. Early impression on 
 white paper. 
 
 "La Vierge, appuyant sa main sur sa selle, penche la tete d'une 
 airtriste; la precaution du vieillard qui sond l'eau avec son 
 baton, est exprimee d'une maniere saisissante; l'ane est un 
 petit chef-d'oeuvre de dessin et de gravure. Si cette petite 
 estampe etait rare, on la paierait des prix enormes, tant elle 
 est charmante. ' ' Charles Blanc. 
 
 13 The Same. 
 
 Another impression on yellowish paper, with 
 margin. 
 
 14 The Rest in Egypt. In outline. (Bartsch No. 58) 
 
 Dated 1645. This impression bears the stamps of 
 two collections, neither of which is known to Fagan. 
 The impressions of this charming little print are 
 always very faint and delicate. 
 
 Eeprodueed in Charles Blanc's catalogue of Rem- 
 brandt's Etchings. 
 
 8 
 
15 The Return from Jerusalem (Bartsch No. 60) 
 
 Dated 1654. Early impression, full of burr. 
 
 16 Christ Preaching. (Bartsch No. 67) 
 
 Assumed date 1635. The only state. Superb im- 
 pression in rich black ink on white paper. Wide 
 margin. 
 
 " Though less important than the Hundred Guilders' Print, the 
 Christ Preaching is certainly as strong as, if not stronger than, 
 its great companion in its drawing of human character. The 
 profound attention of the assembly, the marvelous expi-essions 
 of their faces as they listen to the words of Christ, make an 
 impression 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. 
 
 17 The Same. 
 
 Another impression, on yellow paper. This im- 
 pression, although not so fine as the preceding, 
 has still got the burr on the right sleeve of the 
 figure in the left foreground and also the burr on 
 the corner of the building in the upper right hand 
 corner. This burr disappears in all but the earliest 
 impressions. 
 
 18 Christ and the Tribute Money. (Bartsch No. 68) 
 
 Assumed date 1635. The first state of three, before 
 the shade on the turban of the foremost figure. 
 From the collections of Amboise Firmin-Didot and 
 Louis Galichon. 
 
 19 The Raising of Lazarus. The Smaller Plate. 
 
 (Bartsch No. 72) 
 
 Dated 1642. The first state of three, with three 
 little strokes behind the head of Lazarus. 
 
 20 Christ Healing the Sick. (Bartsch No. 74) 
 
 Known as the Hundred Guilders' Print. 
 
 Assumed date 1650. This is usually conceded to 
 be the greatest of Rembrandt's etchings. Superb 
 impression on Japan paper, with margin. The sec- 
 ond state of six. Only eight impressions are known 
 of the first state. 
 
 " Ce n'est pas pour rien que ce morceau est si celebre dans le 
 monde, . . . , car vraiment tout y est sublime, la mise en scene, 
 la combinaison des lignes, la verite et la variete des expres- 
 sions, les prestiges de la lumiere et de l'ombre, et enfin l'execu- 
 tion, dont la finesse ne le cede point ici a la profondeur meme 
 du sentiment. . . . 
 
 "Les plus croyants, les plus fervents sont ceux qui appro- 
 chent le plus de la personne du Christ ; a mesure que les groupes 
 s'eloignent du centre de la composition, les manifestations de 
 la foi deviennent moins vives. Mais que de delicatesse et de 
 verite dans ces nuances ! le discours peut a peine les rendre : 
 la pointe de Rembrandt les fait sentir. Jamais la peinture 
 a-t-elle rencontre, je le demande, des physionomies plus pro- 
 fondement humaines que celle de cette vieille femme, aux bras 
 dechames, aux mains sillonnees de rides, qui crie la douleur, 
 
 9 
 
et supplie avec tant d'ame pour la guerison de sa fille couchee 
 
 a ses pieds ? . . . 
 
 " Faut-il parler maintenant de l'execution magique de cette 
 gravure ? Mais a quoi bon f aire ressortir ce qui est de nature 
 a frapper si vivement tous les yeux? L'esprit de Rembrandt 
 est dans cbaque trait ; il se revele dans les moindres nuances 
 d'un travail, tantot precieux, tantot vif et rapide. Le procede 
 ne fait qu' obeir ici aux delicatesses du sentiment. La pointe 
 est conduite, non par la main, mais par le cceur." 
 
 Charles Blanc. 
 
 21 The Same. 
 
 Another splendid impression. Printed on white 
 Holland paper, with wide margin. 
 
 22 The Three Crosses. (Bartsch No. 78) 
 
 Dated 1653. Superb impression of the first state of 
 five. Printed on vellum, which has acquired a won- 
 derful rich ivory tone. This is probably the finest 
 impression of the print in the world, having been 
 pronounced by a famous expert to be much finer 
 than the one in the print room of the British Museum. 
 "When Rembrandt had passed his fiftieth year he seems to 
 have put still more fire into his painting, and to have worked 
 with even greater breadth of handling; and there was a 
 corresponding change in his style of etching. His biblical 
 subjects appear like weird visions wrapped in mysterious 
 light: witness his powerful crucifixion known as The Three 
 Crosses." Lippmann : Engraving and Etching, page 174. 
 
 23 The Entombment. (Bartsch No. 86) 
 
 The first state, in which the subject is treated almost 
 in outline. The print in this state is of the utmost 
 rarity. It is very seldom that it is seen outside of 
 the great public collections. 
 
 24 The Same. 
 
 Impression in the second state, in which the whole 
 plate has been carefully worked up to give the effect 
 of a night scene. A superb example of Rembrandt's 
 dark manner. 
 
 25 The Same. 
 
 Another impression in the second state, but more 
 heavily inked, giving a very dark and gloomy effect. 
 
 26 Christ at Emmaus. (Bartsch No. 87) 
 
 Dated 1634. Brilliant impression of the second 
 state, from the Artaria collection. 
 
 "A number of masterly works in etching are dated 1634. 
 Above all there is the print doubly attractive on account of the 
 charming simplicity of the design, which repeats with new art- 
 istic beauty the subject, which the master already so often 
 handled, of the manifestation of The Redeemer at Emmaus." 
 
 Knackfuss : Membrondt, page 128. 
 
 27 The Same. 
 
 Another very brilliant impression, on yellowish 
 paper, from the Boerner collection. 
 
 10 
 
28 Peter and John at the Beautiful Gate of the Temple. 
 
 (Bartsch No. 94) 
 
 Dated 16,59. Beautiful impression of the second 
 state of five, on paper watermarked with the " Head 
 of Folly." 
 
 29 St* Jerome "Writing at the Foot of a Tree. 
 
 (Bartsch No. 103) 
 Dated 1648. Beautiful impression with margin. 
 
 30 The Same. 
 
 A second impression, on paper watermarked with 
 the "Head of Folly." From the collection of Dr. 
 Strater. 
 
 31 St. Jerome in an Italian Landscape. (Bartsch No. 104) 
 
 Assumed date 1653. 
 
 " Rembrandt a traite bien des fois ce sujet de Saint Jerome, 
 mais jamais avec plus de grandeur ni d'une fa^on plus 
 heureuse." Charles Blanc. 
 
 32 The Star of the Kings. (Bartsch No. 113) 
 
 Assumed date 1652. The only state. 
 
 33 The Shell. ; (Bartsch No. 159) 
 
 Dated 1650. Of the utmost rarity. Superb im- 
 pression from the Alexander Beugo collection. 
 
 "One day (in 1650) be sketches, in bis roughest and most rapid 
 manner Christ in the Midst of his Disciples and the next he sets 
 himself to imitate, with the utmost patience, a beautiful sea- 
 shell of a pattern presenting dark irregular reticulations ; the 
 plate is of the greatest interest as Rembrandt's most decided 
 attempt at pure and simple imitation . . . and it is curious to 
 see the great artist humbly giving himself this elementary 
 lesson at the mature age of forty-three." 
 
 P. G. Hamerton : Etchings of Rembrandt, page 43. 
 
 34 Woman with Her Feet in the Water. (Bartsch No. 200) 
 
 Dated 1658. Superb proof on Japan paper. From 
 the collection of Dr. Strater, and also from two other 
 collections not described by Fagan. 
 
 SPECIAL NOTE 
 ON THE LANDSCAPE ETCHINGS 
 
 "In landscape etching, Rembrandt holds a pecu- 
 liar position in relation to his time. . . . He 
 painted beautiful landscapes but they were less 
 true to nature than those of many of his contem- 
 poraries. We can see in the works of the best 
 painters of his time the foundations upon which 
 the modern French school built, but we cannot see 
 11 
 
this in Rembrandt. When, however, we turn to 
 etching, the case is entirely different. Here Rem- 
 brandt stands out as an inexplicable phenomenon 
 of his time. He had no predecessors, he had no 
 contemporaries, and he had no successors until 
 the nineteenth century brought forth its great 
 men. He stands there in the seventeenth century 
 a unique figure, and no one can say from whence 
 came his art. He does not show a mere tendency 
 toward nineteenth century landscape. He is as 
 modern as the men of the nineteenth century 
 themselves; and while he has had his equals in 
 two or three of them, he remains to-day an unsur- 
 passed ' modern among the moderns. ' ' ' 
 
 Atherton Curtis. 
 
 ' ' After 1641, however, Rembrandt threw himself 
 into etching with renewed energy, and at once 
 found in landscape a new milieu, in which he won 
 the most glorious triumphs of his art. To the ten 
 years from 1641 to 1651 belong almost all the 
 twenty-eight landscape etchings which can with 
 certainty be ascribed to Rembrandt. They are 
 pictures of his native surroundings, broad plains 
 with a fine feeling of space and open air. Some 
 cottages or a group of trees give a note of interest 
 in the foreground, but from this the eye is drawn 
 to the distant landscape wrapped in the soft sea- 
 mists of the lowlands of Holland. So complete is 
 his command of the etcher's craft, so delicate his 
 perception of tone, so convincing the surety of his 
 perspective, that we forget that we have only black 
 and white before our eyes ; the prints seem to ex- 
 press everything that a finished painting in color 
 could supply."— Lippmann, Engraving and Etch- 
 ing, page 171. 
 
 Sir Seymour Haden ingeniously points out that 
 nearly all of Rembrandt's landscapes were etched 
 during the sad and solitary years immediately 
 after the master had lost his beloved first wife, 
 Saskia. 
 
 L2 
 
35 A View of Omval. (Bartsch No. 209) 
 
 Beautiful impression of the first state of four. Be- 
 fore the shading due to the use of sulphur was 
 cleaned from the background of the plate and before 
 the trial scratches in the upper right hand corner 
 were altered. 
 
 From the collections of S. Bechberger, 1799, and 
 Henri le Sec des Tournelles. 
 
 Seymour Haden considers this the most beautiful 
 of Rembrandt's landscapes. 
 
 36 A View of Amsterdam. (Bartsch No. 210) 
 
 Assumed date 1641. The only state. Beautiful 
 impression with wide margin, on paper watermarked 
 with "Head of Folly." 
 
 37 Landscape with the Milkman. (Bartsch No. 214) 
 
 Assumed date 1636. Of the utmost rarity. 
 
 38 Landscape with a Man Sketching. ' (Bartsch No. 219) 
 
 Assumed date 1648. 
 
 39 Le Bouquet de Bois. (Bartsch No. 222) 
 
 Dated 1652. Very fine impression of this extremely 
 rare dry-point, from the Francois Debois collection. 
 This impression received a slight fold in the press. 
 
 40 Landscape with the Haybarn. (Bartsch No. 225) 
 
 Dated 1641. Beautiful impression from the Artaria 
 collection, and another not described by Fagan. 
 This print has always been considered one of Rem- 
 brandt's most beautiful landscapes. 
 
 41 The Same. 
 
 Another impression, somewhat lighter in tone than 
 the preceding. 
 
 42 Landscape with a Mill Sail Seen Above a Cottage. 
 
 (Bartsch No. 226) 
 Dated 1641. The only state. It is unfortunate that 
 this landscape, which in composition was one of 
 Rembrandt's finest, is usually dull and somewhat 
 monotonous in tone. The present impression has 
 quite an unusual amount of variety and life. On 
 paper watermarked with the " Lilienwappen." 
 
 43 Landscape with an Obelisk. (Bartsch No. 227) 
 
 Assumed date 1632. Impression full of burr and 
 with the tone, obtained by the use of sulphur, very 
 visible in the sky. From the collection of Prince 
 Soutzo. 
 
 44 The Same. 
 
 Another impression on paper watermarked with 
 "Head of Folly." 
 
 13 
 
45 The Cottage with the White Palings. (Bartseh No. 232) 
 
 Dated 1632. Superb impression. Duplicate from 
 the Amsterdam Museum. This is one of the most 
 charming of Rembrandt's landscapes. The vivid 
 white of the planks in the center of the dark part 
 of this picture is an instance of his brilliant origi- 
 nality of composition. The trees are beautiful ex- 
 amples of his earlier manner of treating foliage in 
 pure etching.. Later on when he came to use dry- 
 point more in the treatment of trees, in such plates 
 as the Goldweigher 1 s Field and the Flock of Sheep, 
 the foliage is quite different and is made up of a 
 great number of stiff little strokes. 
 
 46 The Same. (Bartseh No. 232) 
 
 Another impression on paper watermarked with 
 "Head of Folly." 
 
 47 The Mill. (Bartseh No. 233) 
 
 Dated 1641. Superb early impression, before any 
 of the effect obtained in the sky by the use of sul- 
 phur was lost. 
 
 "Here we see nothing but a wind-mill, a few houses and a per- 
 fectly fiat horizon; but what a refined and indescribable charm 
 — the secret of true art which defies analysis — lies in the sin- 
 cerity with which this scene is rendered." 
 
 Knackfuss : Rembrandt, page 85. 
 
 48 Landscape with a Large Boat (Bartseh No. 236) 
 
 Dated 1650. Of the finest quality but cut about 
 one eighth of an inch at the top, and re-margined. 
 From the collections of Josef Camesina de Ponal, 
 Josef Daniel Bohm and D. Gr. de Arozarena. 
 
 49 Antonides van den Linden. (Bartseh No. 264) 
 
 Extremely fine impression in the finished state. 
 From the Artaria collection. 
 
 50 Clement de Jonghe. (Bartseh No. 272) 
 
 Dated 1651. Beautiful impression of one of the 
 most famous of Rembrandt's portraits. From the 
 Ellingwood collection. 
 
 " As to the portrait of Clement de Jonghe which Rembrandt 
 etched, one has no need to remark how fortunate is the arrange- 
 ment 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 na- 
 ture according to his own ideas — has been able to give, as in 
 the case of the Young Haaring, an air of re very so profound, 
 and the austere melancholy of a philosopher in meditation. ' ' 
 
 Charles Blanc. 
 
 "Nothing in all the great etched work of Rembrandt is in 
 craftsmanship more unobtrusively magnificent, and in its sug- 
 gestion of complex character nothing is more subtle." 
 
 Frederick Wedmore : Fine Prints, page 62. 
 
 14 
 
51 Jan Lutma. (Bartsch No. 276) 
 
 Dated 1656. Second state, before the curved shad- 
 ing on the window jamb in the upper right hand 
 corner. Extremely fine impression, from the Elling- 
 wood collection. 
 
 " Rembrandt produced one of his most masterly portrait etch- 
 ings in 1656, the incomparably picturesque and life-like print 
 of the famous goldsmith, Janus Lutma of Groningen." 
 
 H. Knackfuss : Rembrandt, page 137. 
 "He" (Rembrandt) "admired nothing so much as a certain 
 stern and manly grandeur resulting from the combination of 
 the habits of reflection and much experience of the world." 
 
 P. G. Hamerton. 
 
 52 Jan Asselyn. (Bartsch No. 277) 
 
 Dated 1641. The second state of four, immediately 
 after the easel was effaced from the background of 
 the plate. 
 
 53 Johannes "Wtenbogardus. (Bartsch No. 279) 
 
 Splendid impression of the completed plate, but be- 
 fore the crude retouches on the curtain at the right. 
 
 54 Jan Sylvius. (Bartsch No. 280) 
 
 Dated 1646. This portrait is one of Rembrandt's 
 very greatest works. It is unfortunately very scarce 
 and is only to be found in a few of the oldest and 
 most famous collections. 
 
 55 Utenbogaerd, the Gold "Weigher. (Bartsch No. 281) 
 
 Dated 1639. Superb impression of the second state 
 of four. The face of the gold weigher is still a 
 blank in the first state, which exists only in four or 
 five impressions. 
 
 56 Young Man in a Mezetin Cap. (Bartsch No. 289) 
 
 Assumed date 1635. 
 
 57 Man with a Broad Hat and a Ruff. [Bartsch No. 311 
 
 Dated 1630. Beautiful impression from the collec- 
 tions of Herman Weber and Dr. Strater. This por- 
 trait was among Eovinski's favorites, he speaks of 
 it as u cette superbe feuille." 
 
 58 Saskia with the Head-dress of Pearls. (Bartsch No. 347) 
 
 Dated 1634. 
 
 15 
 
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