From the library of 
 Frank Simpson 
 
 
 
 
 
 r [ 
 
 nr. 
 
 r t’ 
 
 1 
 
 
 It 
 
 
 
 
CATALOGUE 
 
 OF 
 
 REMBRANDT’S WORKS. 
 

A 
 
 DESCRIPTIVE CATALOGUE 
 
 OF THE 
 
 WORKS 
 
 OF 
 
 REMBRANDT, 
 
 AND OF HIS 
 
 SCHOLARS, 
 
 BOL, LIVENS, and VAN VLIET, 
 
 COMPILED FROM 
 
 THE ORIGINAL ETCHINGS, 
 
 AND FROM 
 
 THE CATALOGUES 
 
 Of De BURGY, GERSAINT, HELLE and GLOMY, 
 MARCUS, and YVER. 
 
 BT DANIEL DAULBT. 
 
 LIVERPOOL, 
 
 PRINTED BY J. M’CREERY, 
 
 AND SOLD BY J. EDWARDS, PALL MALL, AND CADELL AND 
 DAVIES, IN THE STRAND, LONDON. 
 
 i79 6 - 
 
OBSERVATIONS 
 
 ON THE 
 
 WORKS of REMBRANDT. 
 
 1 HE history of a man of genius is in general 
 that of his productions ; but this remark is more 
 peculiarly applicable to the great artist, of whose 
 works a new Catalogue is now offered to the 
 public. That he was the son of a miller, who 
 occupied a windmill near the banks of the Rhine, 
 a few miles from Leyden, and that he was born 
 in the year 1 606, is the only important information 
 that remains respecting him, except such as is 
 immediately connected with his profession, or 
 with his labours. 
 
11 
 
 After an unsuccessful attempt to avail him- 
 self of the advantages of a college education at 
 Leyden, Rembrandt is said to have been indebt- 
 ed for his earliest instruction as a painter, to 
 Jacques Vanzwanenburg. He afterwards studied 
 under Peter Lastman at Amsterdam, under 
 whose name a print is in circulation, which the 
 author of the Supplement to the works of Rem- 
 brandt denominates Lot and his Daughter, but 
 which is intended to represent Judah and Tamar. 
 Had this print been in fact the production of 
 Lastman, it would have appeared that Rem- 
 brandt had been much indebted to his preceptor, 
 as well for the manner of his execution in his 
 etchings, as for the stile of his design ; but it is 
 the work of Van Noordt, probably after a design 
 of Lastman, and is certainly posterior in point 
 of time, to many of those of Rembrandt. The 
 manner of Rembrandt may therefore be consi- 
 dered as originally his own, the result and cha- 
 racteristic of a peculiar genius, or of those early 
 impressions which are antecedent to all other in- 
 struction, and which may as well be distinguished 
 by the name of Genius, as by any other appel- 
 lation. 
 
Ill 
 
 But whatever instruction Rembrandt derived 
 from his masters, it is certain, that at a very 
 early age, he rejected their assistance, and de- 
 voting himself to the study of nature, became 
 his own preceptor. Without a guide, he dili- 
 gently pursued the path that he had chosen for 
 himself; whether this was the best path that 
 might have been chosen, is a question which 
 will hereafter deserve discussion ; but it is cer- 
 tain, that it led him to a considerable height of 
 comparative excellence, where he may be re- 
 garded with an eye of. envy by many of those 
 more legitimate children of the art, who with 
 much greater advantages, have not had sufficient 
 vigour to make an equal progress. 
 
 If it be the essence of painting to present to the 
 eye a forcible and striking representation of ex- 
 ternal objects (and whatever may have been 
 written as to the end of the art, this is all that 
 the painter, considered simply as a painter, has 
 to do) there are few masters whose works can 
 stand in competition with those of Rembi andt. 
 The mellow brilliancy of his lights, the breadth 
 and harmony of his middle tints, and the 1 ich 
 depth of his shadows, give to his pictures an ef- 
 
IV 
 
 feet which seems to be the work of enchantment. 
 I his however is not to be considered as merely 
 the result of light and shadow, but must be 
 attributed to a deeper knowledge of the princi- 
 ples of his art. In the composition of his pic- 
 tures he has seldom been equalled, never excel- 
 led. Like a simple narrative, which illustrates 
 some one important truth, his works have, in 
 general, no distracting episodes, no useless ap- 
 pendages, all appears to converge to one point, 
 and to bring forth the intention of the artist in 
 the clearest view. His drawing of the human 
 figure, though remote from elegance, is often 
 marked with the character of nature ; of such 
 nature at least as was familiar to his eye ; and on 
 that account seldom fails to interest the specta- 
 tor. His ^ expression of the passions is always 
 eneigetic ; but the substratum, or countenance 
 on which they are expressed, frequently gives N 
 them a grotesque and extravagant effect, which 
 is apt even in the most serious subjects, to move 
 the risibility of the spectator. To these qualifi- 
 cations he added a practical knowledge of his 
 ait, which enabled him to unite the most accu- 
 rate touch, with the utmost rapidity of execution. 
 His tints are placed with such harmony and 
 
justness, that he was never obliged to mix them 
 so as to lose their flower and freshness, but he 
 artfully passed over them again to unite the lights 
 and shades, and soften those colours which 
 might be too crude, or brilliant. All is warm 
 and mellow in his works. Like many other emi- 
 nent painters he adopted at different periods of 
 his life, a different stile. His first was more 
 highly finished, and is beautifully exemplified 
 in the productions of his disciple Gerard Douw. 
 He delighted in great opposition of light and 
 shadow, and carried his knowledge of the chiaro- 
 scuro to the utmost extent. It is said that the 
 room in which he usually painted, was so dis- 
 posed as to admit only a strong light, and that 
 he caused this vivid ray to strike upon that part 
 only which he was desirous of bringing out with 
 the greatest effect ; that, on the contrary, when 
 he would have his grounds light, he spread be- 
 hind his model a cloth of the colour of the ground 
 he chose, and which partook of the same ray 
 that enlightened the head ; but he had resources 
 in his genius beyond the limited effect of a light 
 admitted into a dark chamber, and beyond any 
 idea which such a light could suggest to him. 
 His principles are not to be explained by any 
 
VI 
 
 particular rule of practice ; but are the result of 
 general observations made in taking nature for 
 his guide, whom he regarded with a different 
 eye than the generality of artists. Such is the 
 ease and freedom apparent in his works, that he 
 may be said to have realized that excellence 
 which Lodovico Carracci professed to have been 
 aiming at during his whole life ; the art of pro- 
 ducing with very little trouble, that which should 
 have a striking effect. 
 
 The talent of painting as possessed by Rem- 
 brandt, was like a sharp weapon in the hands of 
 a warrior, but between the power of excelling, 
 and the proper application of that power, there 
 seems to be no necessary connexion. On the 
 contrary, the distinction between taste and genius 
 is perhaps more substantial than has generally 
 been imagined, and a great part of the produc- 
 tions in what are called the fine arts, are standing 
 examples, that fertility of invention, and force of 
 expression, have not always been accompanied by 
 a just and accurate taste. Those painters who 
 like Salvator Rosa, Spagnoletto, Castiglione and 
 Rembrandt, have been in a great degree self- 
 taught, are all of them, what, in the language of 
 
Vll 
 
 the art, are denominated mannerists. What they 
 have undertaken to represent, they represent well, 
 according to the preconceived ideas which they 
 have formed of it, and which the candour of the 
 observer concedes to them, in consideration of 
 their other excellencies. The efforts of a vigorous 
 fancy, embodied to the eye in the most striking 
 manner, and under the guidance of a refined taste, 
 would go near to form a perfect artist ; but the 
 annals of painting suggest not the name of a sin- 
 gle professor who can justly boast of having- 
 united in himself these excellencies. Imperfec- 
 tion is the lot of humanity, and the palm of ex- 
 cellence is due, not to him who possessing great 
 powers, misapplies them to inferior or unworthy 
 purposes, nor to him who directing himself by 
 just principles, has not strength to attain the 
 object which he has judgment to distinguish, but 
 to the man who unites in the greatest degree the 
 power of action with the rectitude of purpose. 
 
 In appreciating the merits of Rembrandt by 
 these observations, we may perhaps be enabled to 
 determine what rank he is intitled to hold among 
 the professors of the art. Disregarding, like the 
 rest of his countrymen as well the forms of the 
 
antique, as the beautiful comments upon them 
 discoverable in the works of the early Italian 
 painters, he conceived in his own mind other ideas 
 of the human figure, which he exemplified in an 
 immense number of productions. In these pieces 
 we are not to look for beauty of form, nor always 
 for truth of outline, yet we often observe a dig- 
 nity of manner, which places him in this respect, 
 far above a mere imitator of common nature, a 
 Teniers, a Bega, or an Ostade. Among his his- 
 torical pictures, we meet at times with pieces 
 which the first painters of Italy might have been 
 proud to own ; and even among his prints, there 
 may be found numerous examples of historical 
 composition which impress the mind with ideas 
 of grandeur, and of awe, of which the raising of 
 Lazarus, and the beautiful little print of Christ 
 with his Disciples at Emmaus, may serve as 
 proofs. It is true his attempts at dignity of cha- 
 lacter are not always successful ; and even his 
 gravest subjects sometimes degenerate into buffoo- 
 nery or absurdity. Who can forbear a smile when 
 the cattle and their keepers, taking fright at the 
 appearance of the angel who announces the nati- 
 vity, overturn each other in their confusion to 
 escape ; or when Christ in the attitude of a mad- 
 
IX 
 
 man, throws down the tables of the money chan- 
 gers, and furiously castigates the offenders with 
 a tremendous bunch of cords ? In his subjects 
 of allegory, which fortunately he has but rarely 
 attempted, he is beneath all criticism. The 
 piece. No. in, of the catalogue, of which an 
 explanation is now for the first time attempted, 
 and the print usually called La Fortune Contraire , 
 are striking proofs of his want of judgment in 
 this department. 
 
 Even the ideas of grandeur and magnificence, 
 which are at times discoverable in the works of 
 Rembrandt, diminish in proportion as he ap- 
 proached to the representation of the naked fi- 
 gure. He was a painter of the human dress, ra- 
 ther than of the human form, and is indebted 
 for a great part of his excellence to his furs, his 
 mantles, his turbans, and his military accoutre- 
 ments, of which he is said to have formed a 
 large collection, which he assiduously studied. 
 His academy figures are meagre, squalid, and 
 vulgar, and his representations of the female cha- 
 racter are disgusting in a high degree ; the heads 
 being in general disproportionally large, the 
 limbs and extremities ill drawn, and diminutive* 
 
 b 
 
X 
 
 and the skin appearing to hang in wrinkles over 
 a corpulent and ill-formed mass of flesh. Yet 
 there is reason to suppose, that in his judgment, 
 these grotesque productions were preferable, as 
 models of beauty, to the chaste and elegant re- 
 presentation of the Italian masters, with whose 
 works he was not totally unacquainted, and 
 whose prints he is known to have purchased with 
 avidity. 
 
 The genius of Rembrandt as an historical 
 painter, will be more accurately determined by 
 comparing it with that of a great Italian master, 
 whom he resembled in many striking particulars. 
 The same grandeur of composition, the same 
 powerful effect of light and shadow, the same 
 freshness of tints which distinguishes the works 
 of Titian, and which the hand of time rather im- 
 proves than impairs, characterize also the pro- 
 ductions of Rembrandt. Minute criticism might 
 perhaps point out some distinctions between 
 them. The pencil of Rembrandt had more spi- 
 rit, that of Titian more softness. The works of 
 the former require to be seen at a certain dis- 
 tance, those of the latter please from whatever 
 point they are viewed ; yet upon the whole the 
 
XI 
 
 Dutchman need not shrink from a comparison 
 with the Venetian. But when the productions 
 of these artists are estimated by the standard of 
 iust criticism, what an astonishing disparity is 
 perceived between them! The human form, 
 under the plastic hands of Titian, bears the cha- 
 racter of a superior race. The muscular strength 
 of manly age, thejust proportions, and delicious 
 glow of female beauty, and the interesting at- 
 titudes, and rosy plumpness of infancy, excite 
 approbation which will be as unchangeable as 
 the principles on which it is founded. But 
 surely some malicious sprite broke in upon the 
 dreams of Rembrandt, and presented to his ima- 
 gination, as the model of beauty, the perverse 
 caricature of humanity, which, differently mo- 
 dified, appears in all his works. On this, the fa- 
 vorite object of his idolatry, he lavished all the 
 graces of his exquisite pencil, and, infatuated by 
 her allurements, suffered himself to be seduced 
 from that simplicity of unadulterated nature, 
 which is reflected to so much advantage in the 
 mirror of art. 
 
 It has been remarked, that had Rembrandt 
 studied in Italy, his drawing would have been 
 
Xll 
 
 more correct, from having the most perfect mo- 
 dels constantly before his eyes. The observation 
 is trite ; this would have undoubtedly been the 
 case, but in all probability there would only 
 have been an exchange of qualities. Rembrandt 
 shone in defiance of drawing, taste, and grace, 
 and it is not unlikely, that if his principal atten- 
 tion had been directed to purity of outline, we 
 should never have heard of his name, except 
 perhaps to an edition of the antique statues. 
 
 Let us however do justice to the talents of 
 Rembrandt, and own that there are departments 
 in which he appears to much greater advantage, 
 than as an historical painter. Debarred by a vi- 
 tiated taste from arriving at the first degree of 
 eminence in works of imagination, he knew how 
 to attain it when the actual model of his imita- 
 tion was before his eyes, and he had only to 
 transfer to the canvass the effect which he so well 
 knew how to produce. Hence his portraits are 
 deservedly held in the highest esteem, and in 
 grandeur of character, as well as in picturesque 
 effect, often rival the most celebrated works of 
 Titian. The accuracy of his pencil insured a 
 striking resemblance, whilst his skill in the ma- 
 
Xlll 
 
 nagement of light and shadow, and his thorough 
 acquaintance with the harmony and effect of his 
 tints, enabled him to give to his subjects an ap- 
 pearance of reality so striking, as in some instan- 
 ces to have actually imposed on the senses of the 
 spectators. Thus, a picture of his maid-servant 
 placed at the window of his house in Amster- 
 dam, where he fixed his permanent residence a- 
 bout the year 1630, is said to have deceived the 
 passengers for several days. This fact is at least 
 authenticated by De Piles, who had the curiosity 
 when he was in Holland, to inauire after this 
 
 ' x 
 
 picture, and finding it was well pencilled, and 
 possessed a great force, purchased it, and es- 
 teemed it as one of the highest ornaments of his 
 cabinet. 
 
 From this slight inquiry into the merits of 
 Rembrandt as a painter, it will sufficiently ap- 
 pear what rank he is intitled to hold among the 
 eminent professors of the art. Excluded by the 
 effects of a perverted and irremediable taste, from 
 all pretensions to the first honours of his profes- 
 sion, he may be regarded as the most successful 
 of those artists who have exercised great talents 
 
XIV 
 
 upon false principles, and who may not impro- 
 perly be called the empirics of the art. 
 
 His genuine works are now indeed rarely to 
 be met with, and, whenever they are to be 
 purchased, afford incredible prices. Among his 
 numerous pupils there are twenty at least who 
 distinguished themselves as artists of merit, yet 
 in a cabinet, or at a sale, very few of their names 
 ever appear. If a picture possess any thing of 
 the manner of Rembrandt, it is usually attributed 
 to him, either to inhance the value, or to flatter 
 the possessor. 
 
 The same characteristic excellencies and de- 
 fects which are discoverable in the paintings of 
 Rembrandt, may also be traced in his etchings ; 
 which, from his own time to the present day, 
 have been held in high estimation, and acquired 
 only at considerable prices. This extreme par- 
 tiality to his labours, has been regarded by some 
 as a mere temporary, or fashionable preference, 
 which would in all probability soon be transfer- 
 red to the works of some other master. It re- 
 quires however no extraordinary degree of judg- 
 ment to discover, that this preference rests on a 
 
 / 
 
XV 
 
 more solid foundation than has generally been 
 imagined. The prints of Rembrandt approach 
 nearer to the excellencies of painting, than those 
 of any other master ; and such is often the har- 
 mony of their effect, that we scarcely regret the 
 want of colour. The touch of his needle strong- 
 ly resembles that of his pencil, and the intended 
 expression is often produced by a few spirited 
 and appropriate strokes, which surprize and de- 
 light the judicious observer. Among his prints, 
 as well as his paintings, his portraits are the 
 most estimable of his works. What character, 
 what resemblance of nature, in that of Ephraim 
 Bonus, and how inferior is that of the same 
 person by Livens, who strove with all his talents 
 to emulate this master-piece of art ! Even his 
 landscapes, although only the transcripts of fa- 
 miliar scenes, are in a fine stile, and sufficiently 
 indicate, that if he had been conversant with the 
 grander appearances of nature, he might in this 
 department have rivalled a Titian, a Caracci, 
 or a Claude. 
 
 Without a thorough conviction that the me- 
 rits of Rembrandt were of a permanent, and 
 not of a transitory nature, the editor of the fol- 
 
 
 ■ 
 
XVI 
 
 lowing catalogue would scarcely have ventured 
 to present to the public a volume, which profes- 
 ses to be only an arrangement of his works ; but 
 it is well known that the avidity of the public 
 to possess these specimens of his talents, begun 
 even in his life-time, and that he availed himself 
 of it to his great emolument. This avidity ex- 
 tended itself not only to the collecting of his 
 prints, but to the choice and variety of the im- 
 pressions ; and the different estimation in which 
 the same subject was held, merely on account of 
 a slight alteration in some unimportant part, may 
 serve at least to shew the extreme curiosity which 
 his works had excited. Thus the Juno without the 
 crown, the Coppenol with the white back-ground, 
 the Joseph with the face unshaded, and the good 
 Samaritan with the horse’s tail white, were re- 
 garded as inestimable ; whilst the same subjects, 
 without these distinctions, were considered as of 
 little comparative value. The facility with which 
 he could change the effect of his etchings, by 
 altering, obliterating, or working on them again, 
 enabled him to provide sufficient amusement for 
 his admirers ; and hence varieties frequently 
 occur which are not easily explicable. Nor was 
 he insensible of the value of his labours, but on 
 
XVII 
 
 the contrary, is said to have frequently suffered 
 himself to be solicited before he would consent 
 to dispose of them, and it is a well attested fact, 
 that the print of Christ Healing the Sick, usually 
 denominated the Hundred Guilder, was so called 
 because he refused to sell an impression of it un- 
 der that price. 
 
 Of the collections of the prints of Rembrandt 
 formed in his life-time, the most celebrated was 
 that of Jan Six, a burgomaster of Amsterdam, 
 whom he regarded as his particular friend and 
 patron, and whose portrait he has given in a 
 print which is justly esteemed as one of the scar- 
 cest and most valuable of his works. From that 
 time to the present day, collections have been 
 formed in almost every part of Europe, and the 
 emulation of sovereigns has been excited, and 
 the treasures of royalty expended in their acqui- 
 sition. The liberality of princes has however 
 frequently been rivalled by that of private indi- 
 viduals, who have made such collections a more 
 particular object of their attention ; and although 
 the collection formed by Beringhen for Louis 
 XIV. was very extensive, it was perhaps excelled 
 by that of M. De Burgy, at the Hague, collected 
 
 c 
 
XV 111 
 
 between the year 1728 and 1755, and which 
 consisted in the whole, including the varieties, 
 of 655 prints. 
 
 To those who engaged in the tumult of ac- 
 tive life, are of opinion, that the time bestowed 
 on the present publication has been wholly mis- 
 applied, the editor has no explanation to give ; 
 but to those who think that society affords op- 
 portunities for enjoyment, as well as for conten- 
 tion, and that the hours of leisure are not impro- 
 perly past in the gratification of an innocent 
 taste, he thinks it necessary to mention, that the 
 collecting the prints of Rembrandt has engaged 
 some share of his attention for several years ; and 
 although he has resided in a part of the kingdom 
 unfavourable to pursuits of this nature, which 
 can only be engaged in to advantage in the me- 
 tropolis, yet time and assiduity have in a great 
 degree remedied this defect, and his collection 
 is at present such as to leave him little expecta- 
 tion of making any considerable addition to it. 
 In a state of health which has precluded him 
 from more active employment, the arrangement 
 of this collection, whilst it afforded him no in- 
 considerable share of amusement, discovered to 
 
XIX 
 
 him the errors with which the former catalogues 
 of the works of this master, and particularly the 
 English translations of them, abound. These 
 arise not only from the mistakes in the dimen- 
 sions of the prints, but from the descriptions, 
 which are sometimes erroneous, sometimes unin- 
 telligible. The supplement of Pierre Yver, pub- 
 lished at Amsterdam in 1756, has indeed cor- 
 rected many of these errors, but at the same time 
 has occasioned new ones ; and besides, this work 
 has never yet appeared in an English dress. 
 These considerations have at length induced the 
 editor to lay before the admirers of this great ar- 
 tist, a more correct and authentic catalogue of 
 his prints than has hitherto been published, in 
 the execution of which, he has availed himself of 
 all the assistance which it was in his power to 
 obtain. 
 
 With respect to the arrangement of the fol- 
 lowing catalogue, the editor has thought it in- 
 dispensably necessary to adhere to the numbers 
 of Gersaint’s catalogue, by which the prints have 
 long been distinguished in eminent collections, 
 and in catalogues formed for sale. It is true, se- 
 veral instances occur, in which that writer has 
 
XX 
 
 described the same print under different num- 
 bers ; but it was thought better to continue the 
 same order, marking such mistakes, whenever 
 they occurred, than to alter the whole arrange- 
 ment, and thus introduce confusion into a sub- 
 ject which the work is intended to elucidate. In 
 ascertaining the size of the prints, an actual and 
 accurate measurement has been resorted to, in 
 almost every instance, except in such prints as 
 are regarded as unique , viz. N os . 99, 148, 
 
 J 49> J 5 °> * 74 > i7 6 > x 9 8 > 2o8 > 22 °> 2 3 b 233, 
 2 35’ 2J1, 274, 315, 336, and 338; and of the 
 Doubtful, 345, 349, 35 1, 352, 354 , 35 8, 359, 360, 
 367, and 368. The size is expressed in English 
 measure, a circumstance essentially necessary to 
 the utility of the work, but, unaccountably, not 
 adverted to in the former translation. The ex- 
 perienced collector is however well aware, that 
 even a variation in the size of a print, is not 
 to be regarded as an indubitable proof of its be- 
 ing a copy, as such variation is frequently occa- 
 sioned by the different texture or thickness of the 
 paper. In measuring two small prints, appa- 
 rently of the same size, a difference of one tenth 
 of an inch, or more, may sometimes be found, 
 and when the paper is materially different, the 
 
XXI 
 
 sizes will vary accordingly. The numbers mark- 
 ed thus (*) are M. M. Helle and Glomy’s additions 
 to the catalogue of M. Gersaint, and are, many 
 of them erroneous. 
 
 In order to ascertain with some precision, the 
 different degrees of comparative rarity attributed 
 to these prints, the following definite terms have 
 been employed in the ensuing catalogue, in 
 preference to vague and general expressions; 
 scarce , very scarce, extremely rare, presque-unique, 
 unique. 
 
 To this catalogue of the prints of Rembrandt, 
 a more complete list of engravings by other mas- 
 ters after his works is given, than has ever before 
 been published. It is not however by any means 
 offered as a perfect one, but as the best which the 
 editor has been enabled to procure. 
 
 Rembrandt died at Amsterdam in the year 
 1674, at the age of sixty-eight, leaving a son 
 named Titus, whom he educated in his own pro- 
 fession, in which however it does not appear that 
 he ever attained any great degree of eminence. 
 
XXII 
 
 Had the talents of Rembrandt been less con- 
 spicuous, his name would have been immorta- 
 lized by the celebrity of his school ; which pro- 
 duced the following eminent painters, Gerard 
 Douw, Leonard Bramer, Ferdinand Bol, John 
 George Van Vliet, Gerbrand Vanden Eeckhout, 
 Govert Flinck, besides many other celebrated ar- 
 tists. John Livens is not certainly known to 
 have been his disciple, although he closely imi- 
 tated his manner, and copied some of his prints. 
 
 Several of his scholars have etched either af- 
 ter the works of their master, or from subjects 
 in his stile, of their own invention ; a list of these 
 works, of which many are rare and estimable, 
 was deemed a necessary addition to the present 
 catalogue ; and the editor has therefore given it 
 in as complete a manner as his researches would 
 allow. 
 
'fhe etchings of Rembrandt consist of about 383 
 pieces, besides about 237 variations, and 53 
 doubtful, and may be classed nearly as un- 
 der ; 
 
 Portraits of Rembrandt 
 
 . • 
 
 . . 27 
 
 variations 
 
 17 
 
 Old Testament . . . 
 
 
 
 
 10 
 
 New Testament . . . 
 
 
 
 
 54 
 
 Pious Subjects . . * . 
 
 
 
 
 8 
 
 Fancy Pieces . » . . 
 
 
 
 
 26 
 
 Beggars 
 
 
 
 
 1 7 
 
 Free Subjects .... 
 
 
 . . . 6 
 
 
 4 
 
 Academical Subjects . . 
 
 
 
 
 8 
 
 
 
 
 
 
 Portraits of Men . . . 
 
 
 
 
 53 
 
 Fancy Heads .... 
 
 
 
 
 28 
 
 Portraits of M^omen . . 
 
 
 
 
 16 
 
 
 
 
 
 1 
 
 
 
 CO 
 
 0* 
 
 
 237 
 
A DESCRIPTIVE CATALOGUE , 
 
 I. PORTRAITS of REMBRANDT, 
 
 OR 
 
 HEADS WHICH RESEMBLE HIM. 
 
 1 The portrait of rembraudt drawing. 
 
 This portrait is a mezzotinto, done after Rembrandt 
 by Van Gole; and therefore improperly placed by 
 Ger saint at the head of his works, instead of being 
 inserted in the catalogue of portraits engraved after 
 him by different artists. 
 
 I2to — 9tV 
 
 The first impression is without the inscription. 
 
 2 THE BUST OF A YOUNG MAN, RESEMBLING 
 
 REMBRANDT. 
 
 The figure is placed towards the left side of the 
 print, from whence the light comes in ; the body is 
 A 
 
2 
 
 PORTRAITS of REMBRANDT. 
 
 turned to the right, but the face is seen in front ; the 
 nose is broad, the eyes are small, the hair is bushy, 
 standing up on the crown and frizled ; the neck- 
 band is seen over the habit, and divides in the middle. 
 The ground is light, except a faint shadow at the 
 bottom to the right, a little above which is written 
 Rt. A fine impression is very scarce. 
 
 3. A HEAD, VERY MUCH RESEMBLING REMBRANDT, 
 
 WELL ETCHED, AND HIGHLY FINISHED. 
 
 This is a full front, with moustaches ; the head is 
 covered with a cap or bonnet, which is set a little on 
 the left side, on which side the hair is short, but is 
 long and curled on the right ; it is etched no lower 
 than the neck, and is light on the right side. 
 
 2 ——1 —— 
 
 1 1 o 
 
 4. ANOTHER PORTRAIT OF REMBRANDT, CALLED 
 
 THE BIRD OF PREY PORTRAIT. 
 
 Of this print there is no good impression, and the 
 few impressions that are extant are extremely rare , 
 being more scarce than any other portrait of this mas- 
 ter. As it has no great merit it is probable that he 
 destroyed the plate. It is seen nearly in front, the 
 hair is frizled as usual, and the head covered with a 
 slashed bonnet with a feather in it. The body is di- 
 rected towards the left, and the habit is furnished 
 with button-holes on both sides, and on the sleeves, 
 which are slashed in the Rrandenhourg fashion. On 
 his right hand a falcon is perched. 
 
 5 — 3 A- 
 
PORTRAITS of REMBRANDT. 
 
 3 
 
 5. A BUST OF A YOUNG MAN RESEMBLING REM- 
 
 BRANDT. 
 
 Rembrandt is always distinguished by the largeness 
 of his nose, and the roundness of his visage, by his 
 frizled bristly hair, and the thickness of his lips. 
 This piece is strongly etched, the lines are coarse and 
 thick. The head is uncovered, and seen nearly in 
 front ; the neck-band is open before. The light comes 
 in on the right side, full on the cheek and the shoul- 
 der. The ground is light on the left, nearly as high as 
 the top of the head, the rest of it is shadowed. This 
 is likewise one of the most rare of Rembrandt's 
 portraits. 
 
 o_Z_ — 2— S — 
 
 •*10 •‘•10 
 
 6. A SMALL HEAD STOOPING, SOMEWHAT RESEM- 
 
 BLING REMBRANDT. 
 
 This head is uncovered, and seen nearly in front ; 
 the visage is round, the hair shocky and frizled, 
 the nose thick, and the eyes almost shut. It is 
 turned a little towards the right, and shadowed on 
 the left side ; the shoulders are expressed only by a 
 single stroke on each side, and the breast is lightly 
 shadowed with the single stroke. The ground is en- 
 tirely white. 
 
 Of this piece, which is etched with a strong point, and is 
 •very scarce , there are three impressions. 
 
 The first is merely an unfinished sketch, and measures 
 2^ by at the top, and two inches at the bottom, 
 and may be regarded as presque-itnique. 
 
 The second is more finished, the face, and particularly the 
 
4 
 
 PORTRAITS of REMBRANDT. 
 
 chin, is more worked on, and this impression is with 
 the bur, and measures somewhat more in height than 
 the third impression. It is extremely rare. 
 
 The third impression is that which has been particularly 
 described, and measures i-hs b y i t%* 
 
 7 A BUST OF A YOUNG MAN, RESEMBLING REM- 
 
 BRANDT, COARSELY ETCHED. 
 
 In this piece the strokes are broad and black. It is 
 however undoubtedly the work of Rembrandt , and 
 appears to be wrought in his first manner. The head 
 is seen in front, and is covered with a fur cap, which 
 is higher on the right side than on the left. The hair 
 is curled, but falls down on his right shoulder, and is 
 short on the other side ; the body is directed towards 
 the left, from whence the light comes in. The 
 ground is light, except a small part to the right, which 
 is shadowed with the double stroke as high as the 
 shoulder. Though this piece is not above mediocrity, 
 yet it is extremely rare. It measures 2 T \ by in 
 its present reduced state, but before it was cut it mea- 
 sured near an inch more each way. 
 
 8 A PORTRAIT OF REMBRANDT WHILST HE WAS 
 
 YOUNG. 
 
 This portrait is designed with taste, and highly fi- 
 nished with a fine point, a good impression is very 
 scarce. The head, which is seen nearly in front, is 
 covered with a common hat, turned up over his left 
 eye. The hair, which is very finely executed, ap- 
 pears on each side of the face, and on his left side 
 hangs down to the shoulder ; the body is directed to 
 
PORTRAITS of REMBRANDT. 
 
 5 
 
 the left, and covered with a rich mantle, turned up 
 with fur, and a little raised upon his right shoulder. 
 Round the neck is a ruff, laced and plaited ; his left 
 hand, on which is a glove, is adorned with a laced 
 ruffle. The light comes in on the right side. It is 
 scarce. 
 
 Sr-o — 5to 
 
 Of this piece there are four impressions. 
 
 In the first , which is presque-unique , only the head, hair, 
 and hat, are expressed ; the body is not made out. 
 
 In the second impression, which is extremely rare , the ruff is 
 less laboured, and the lace is almost imperceptible, 
 the back ground on the left side is covered with 
 strokes in different directions, instead of being left 
 wholly light, as in the fourth impression, and upon 
 the whole it is much superior in beauty and effect. 
 
 The third impression, which is very scarce , differs from 
 the second in having written near the top, on the 
 right, Rembrandt f and on the left, near the top, Rt. 
 1631. 
 
 The fourth impression is that which has been described. 
 
 A HEAD RESEMBLING REMBRANDT. 
 
 His distinguishing feature, a large broad nose, is 
 particularly shewn in this print ; the hair is frizled, 
 as well on the crown of the head, as on each side of 
 the face, and falls on the shoulder. The beard is 
 short and downy, with moustaches , the eye-brows are 
 contracted, and the countenance has the air of gri- 
 mace. The face is nearly in front, directed towards 
 the left, and shadowed on that side. The shoulder is 
 scarcely marked with a single stroke, but there is a 
 
6 
 
 PORTRAITS of REMBRANDT. 
 
 shadow under the chin. The ground is white. It is 
 etched in a good taste, and is scarce. 
 
 Of this there are three impressions. 
 
 The first is extremely rare , and measures 3 T 5 5 by 3. 
 
 The second impression, which is very scarce , measures' 
 2 t A by 2^5- and is that which has been described. 
 
 The third impression is more worked upon on the face, 
 and under the chin, and is scarce. 
 
 *10 A HEAD OF REMBRANDT, IN A CAP WHICH IS 
 MORE HIGHLY FINISHED THAN THE PORTRAIT. 
 
 It is said to measure 4.-^ square. This print is an 
 addition to those described by Gersaint , supposed to 
 to have been met with by Messrs. Hellc and Glomy , 
 but in reality there is no such print. 
 
 *1 1 A PORTRAIT RESEMBLING REMBRANDT, LIGHTLY 
 ETCHED ON A NARROW PLATE AND UNFINISHED. 
 
 The head is covered with a cap, ornamented with a 
 feather. The face is a full front, and is only an out- 
 line, except being a little shadowed about the chin, 
 and in the back-ground at the top. It is extremely rare . 
 
 *I2A PORTRAIT OF REMBRANDT, ETCHED IN THE 
 EARLY PART OF HIS LIFE. 
 
 The head is covered with a very flat cap. It is said 
 to measure 3 — by 2-fi 6 and to be very scarce. This 
 is supposed to be the same with N°. 294, otherwise 
 there is no such print by Rembrandt. 
 
PORTRAITS of REMBRANDT. 
 
 7 
 
 J3 A BUST OF A YOUNG MAN, RESEMBLING REM- 
 BRANDT. 
 
 The head is uncovered, and the hair frizled. The 
 face is a three-quarters, turned to the right, and sha- 
 dowed on the opposite side. The eyes are very small, 
 and made so black as to be displeasing ; the nose is 
 large and the mouth drawn together. The ground 
 is shaded only on the left side. This piece is extremely 
 rare. P. Tver thinks it inferior to the works of 
 Rembrandt , and probably executed by his disciple 
 Livens. 
 
 3 — hV 
 
 14 A BUST, IN WHICH THERE IS SOME RESEMBLANCE 
 OF REMBRANDT IN HIS YOUTH. 
 
 The head is uncovered, and shadowed on the left 
 side, the face is a full front, the hair is frizled, a little 
 standing up. The body is covered with a fur cloak, 
 and turned towards the left. This print is distinguish- 
 ed by two small strokes which are drawn nearly pa- 
 rallel, and cross the tuft of hair at the top of the head. 
 Of this there are t-ivo impressions. 
 
 Th t first is extremely rare , and not mentioned either in. 
 Gersaint's catalogue or the supplement. To the left 
 within the two strokes, is written Rt. 1630. 
 
 3 — 3 
 
 In the second impression, of the above date only the 
 figures 30 remain, the rest being intirely cut off. 
 
 9 _ 9 _ - 0-1 
 
 ^10 i o 
 
 *15 A PORTRAIT OF REMBRANDT WHEN YOUNG. 
 
 The head is seen in front in a mezetin cap. The 
 
8 
 
 PORTRAITS of REMBRANDT. 
 
 arms are wrapped in a mantle or cloak thrown over 
 his right shoulder, but his left elbow is exposed. 
 The face and hair are shaded to the left ; the body is 
 etched with little more than the single point, except a 
 slight shade on the left. The back-ground is also 
 shaded to the left of the head, and there are a few 
 strokes towards the bottom on the right side. It is 
 very scarce. 
 
 *i6a BUST OF TITUS, SON OF REMBRANDT. 
 
 This piece is coarsely scratched in an irregular oval, 
 bounded with a sort of chain-work. It is a full face, 
 with a cap on. The effect is very strong ; the light 
 comes full on his left cheek, and on the lower part of 
 the nose, which is very broad, and just catches his 
 right cheek. The eyes and the rest of the face are in 
 deep shade. The light likewise falls strong on the 
 body between his left shoulder and breast. The hair 
 is thick and frizled. This print is extremely rare. 
 
 2yo 2 
 
 *17 A SMALL PORTRAIT OF REMBRANDT IN A CAP 
 AND FUR CLOAK. 
 
 It is said to be a three-quarters front, and turned to 
 the right ; the head is a little inclined as if looking 
 downwards. But there is no such print by Rembrandt , 
 unless it be the same with N°. 299. 
 
 18 A BUST OF A YOUNG MAN RESEMBLING REMBRANDT. 
 
 It is a three-quarters view, turned to the left, and 
 shadowed on the same side ; the hair is frizled and 
 
PORTRAITS of REMBRANDT. 
 
 9 
 
 stands up towards the top of the head, the mouth is 
 open, and the under lip thrust out, which gives the 
 countenance an expression of pain. The garment is 
 open at the top. The ground is white, except the 
 bottom to the left, which is a little etched upon ; and 
 on the top on she same side, is faintly written Rt. 
 
 1630. It is very scarce. 
 
 o— — 2 ~- 
 
 *T'o' ^IO 
 
 Of this piece there are three impressions. 
 
 In the first impression, which is extremely rare , the plate 
 
 is 3xo b y 2 rW 
 
 IQ A BUST WHICH RESEMBLES REMBRANDT IN HIS 
 YOUTH. 
 
 The head is seen in front, covered with a fur cap, 
 which is highest on the right side. The robe, which 
 is turned up with fur, is open at the top. It is sha- 
 dowed on the left side. The ground is light, except 
 some double strokes on the left, as high as the shoul- 
 der ; and at the top on the same side, is written Rt. 
 
 1631. This print is scarce. It measures, including 
 a space at the bottom of the plate of fi 0 - of an inch, 
 
 1 O * 1 o 
 
 20 A BUST RESEMBLING REMBRANDT. 
 
 The head is a three-quarters, the hair, as usual, is 
 frizled, and stands upright on the crown, though it 
 comes so low on the forehead as nearly to reach the 
 eyebrows. The face is directed toward^ the left, and 
 is shadowed on the same side. The body is wrapped 
 round with a cloak, which has a cape tnat turns back, 
 and is buttoned before. The ground is shaded on the 
 
10 
 
 PORTRAITS of REMBRANDT. 
 
 left side, towards the bottom. At the top, on the 
 same side, appears Rt. 1631. This piece is scarce. 
 It measures, including a margin at bottom of T V of an 
 
 inch, and one on the left side of of an inch 
 2-5 nJ 
 
 * 1 Q * 1 (J 
 
 Of this bust there are two impressions. 
 
 The second impiession has been retouched and strength- 
 ened, as well in the head as in the habit, and on the 
 left side the hair falls as low as the mouth. It has not 
 howevei the character of Rembrandt' s point, and is 
 most probably retouched by another hand. 
 
 21 A BUST VERY MUCH RESEMBLING REMBRANDT. 
 
 The head is seen in front, covered with a high fur 
 cap, in the shape of a turban. The hair is short and 
 curled, the shoulders are covered with a cloak faced 
 with fur. The light comes full on his left cheek. 
 Above, on the left, is written Rt. 1631. This is a 
 spirited etching. 
 
 2 --- 0 - 2 ' 
 
 A 1 o z 1 o 
 
 Of this piece there is a copy reversed. 
 
 22 A PORTRAIT OF REMBRANDT. 
 
 This is a bust, the face nearly a full front, but the 
 body more turned to the left. The light comes full on 
 the lower part of his left cheek, and on his left shoulder. 
 The rest of the face, and of the figure, is in shade, 
 ’I he head is covered with the usual cap, placed on one 
 side. Round the neck is a kind of scarf, that hangs 
 down behind, and a small epaulette on his left shoul- 
 dei . I he hair hangs loosely on the shoulder. The 
 back ground is white, except a few strokes at the 
 bottom on theright, and some cross etchings on the left. 
 
PORTRAITS of REMBRANDT. n 
 
 In a margin, at the bottom, of nearly half an inch, 
 is written Rembrandt f. 1633. 
 
 5-10 4 i o 
 
 Of this print there are three impressions. 
 
 The first is without the name and date, and is not so highly 
 finished in many parts. It measures 5^ by 4^ and 
 is extremely rare. 
 
 The second impression, which is very scarce , is likewise less 
 finished, but is the same size as the third impression, 
 which is already described. 
 
 23 A PORTRAIT OF REMBRANDT, WITH A DRAWN 
 SABRE. 
 
 This piece is extremely well executed. He is seen 
 in front with a richly ornamented cap, his hair is full 
 and frizled, and he has moustaches. In his right hand 
 he holds a glittering sabre. His habit is embroidered, 
 and the top enriched with ermine and a string of jew- 
 els. The back-ground is shaded on the left as high as 
 the shoulder. At the top, on the left, is written 
 Rembrandt/. 1634. It is scarce. 
 
 4 1 o 4’ 
 
 24 THE PORTRAITS OF REMBRANDT AND HIS WIFE. 
 
 Rembrandt is sitting on the right side of the print, 
 before a table, on which he rests his left hand, hold- 
 ing a porte-crayon, in the attitude of drawing. He 
 has on the mezetin cap, with a feather in it. His 
 face is a full front, his body inclined to the left. His 
 hair is frizled, and he has moustaches. To the left, 
 behind the table, sits his wife ; her face is turned a 
 little to the right. The back of her chair appears. 
 The back ground is white, except a few etchings be- 
 
12 
 
 PORTRAITS of REMBRANDT. 
 
 tween the lower part of the faces. In the left corner 
 at the top, is written Rembrandt f. 1636. 
 
 4ro — 3 A 
 
 25 A PORTRAIT OF REMBRANDT IN THE MEZETIN 
 CAP AND FEATHER. 
 
 This piece is executed in a good taste. It is nearly 
 a full face, in the mezetin cap, with a feather at the 
 side. He has moustaches , and his beard is rather long 
 and thin. The body is covered with a rich mantle 
 faced with fur, and embroidered, from under which 
 his left arm is discovered, the hand being in the breast. 
 The back-ground is white, except a few cross etchings 
 above his right shoulder. Towards the top, on the 
 left, appears Rembrandt f 1638. 
 
 5to — 4to 
 
 26 A FINE PORTRAIT OF REMBRANDT. 
 
 This piece is designed with taste, and extremely 
 well executed. It is a half-length, the face more in- 
 clined to a three-quarters, than a full front. The 
 hair is long and curled, hanging on the shoulders, 
 and he has long moustaches. The head is covered with 
 the mezetin cap, set on one side ; the body is wrap- 
 ped in a rich mantle, and is turned towards the left. 
 His left arm is supported on a piece of stone-work ; 
 his left hand, on which is a glove, appears from un- 
 der his mantle. His right is placed upon his breast. 
 The back ground is white, except a few strokes near 
 the bottom to the right. In the left corner on the 
 top is written Rembrandt f. 1639. 
 
 8 A — 6 A- 
 
PORTRAITS of REMBRANDT. 
 
 i3 
 
 27 THE PORTRAIT OF REMBRANDT DRAWING. 
 
 In this portrait Rembrandt has laid aside the superb 
 cap and feather, and represented himself as a complete 
 Dutch character. This print is finely etched, and 
 highly finished in his dark manner. It is a full front, 
 half-length. His head is covered with a narrow brim- 
 med hat, his garment is very plain, and open at the 
 neck. He is sitting at a table, which is in the front 
 of the print, and holds a crayon in his right hand, 
 with which he is drawing on paper, placed upon a 
 book, on which he rests his left. Upon the left side 
 is a casement open, through which a landscape is seen 
 at a distance. Of this piece the strongest impressions 
 are the best, the strokes of the plate being extremely 
 light and tender. On a short curtain or screen, hang- 
 ing from the top of the casement is written Rembrandt 
 f. 1648. It measures on the right side 6 T V, and on 
 the left 6 t V by 5 7 , o- 
 
 Of this print there are three distinct impressions. 
 
 The first impression is extremely rare. It is before the in- 
 sertion of the name and date. The inside of the case- 
 ment, and the hands and ruffles, are all white, and 
 the book and table much less finished. The landscape 
 likewise is wanting. 
 
 The second impression is very scarce. The landscape is still 
 wanting. The inside of the casement is less shaded 
 than in the finished print. The habit, book, papers, 
 covering of the table, and the hands, are all less 
 wrought upon, and the ruffle is white. This impres- 
 sion is the best, and produces a fine effect. 
 
i4 
 
 PORTRAITS of REMBRANDT. 
 
 There is a good copy of this print in the same direction a* 
 the original. 
 
 28 A PORTRAIT OF REMBRANDT IN AN OVAL. 
 
 The face is a three-quarters, the body is turned to 
 
 the right, and shadowed on the left, the hair is strong 
 
 and curling, and he has moustaches . On the crown 
 
 of his head is a light cap or calotte , with a feather 
 
 in front ; he is clad in a kind of Persian habit, 
 
 which is fastened before with a clasp, and has on 
 
 his breast an officer’s gorget, over which is thrown a 
 
 striped scarf. The ground is lightly shaded round the 
 
 oval, on the upper part, and is a little darker above 
 
 his right shoulder. On the right side is written 
 
 Rembrandt f 1654. 
 
 r 1 . a 
 
 5 1 o 4 1 o' 
 
 Of this portrait there are three different impressions. 
 
 The first is so extremely rare , that it is believed there were 
 not more than two in Holland when Gersaint made his 
 catalogue, viz. one in the collection of M. Fan Leyden , 
 the other in that of M. le Cojiseiller Muilman at Amster- 
 dam. In the two other impressions the figure is only a 
 bust, but in this it is discovered to the knee, the left 
 hand holds a naked sabre that hangs down to the bot- 
 tom of the plate, which is 7^ by 6 T V 
 
 In the second impression, which is very scarce , there is a 
 kind of square formed by an outline at each extre- 
 mity of the oval, before the plate was cut to that shape. 
 
 There is a copy of this print reversed, in the oval, and 
 another in the square. 
 
II. SCRIPTURE SUBJECTS 
 
 FROM THE 
 
 OLD TESTAMENT. 
 
 29ADAM AND EVE. 
 
 They are represented naked in Paradise, Eve ap- 
 appears standing in the front of the print, with the 
 forbidden fruit, of which she persuades Adam to eat. 
 Adam , who is standing to the left, seems to refuse the 
 fruit, and to remonstrate against the crime. To the 
 right is the trunk of a tree, upon which Satan is repre- 
 sented, under the figure of a large winged serpent, 
 holding another apple in his mouth. In the remotest 
 part of the landscape, towards the right, an elephant 
 is discovered. Rembrandt's skill in expressing naked 
 figures was very defective. In this piece the heads 
 are disagreeable ; but upon the whole it produces that 
 effect which distinguishes the works of this great mas- 
 ter. In the margin of the print is written Rembrandt 
 f. 1638. A good impression is rarely to be found. 
 
 6A,— 4to 
 
 I11 the catalogue of Marcus’s prints, mention is made of an 
 earlier impression, which is less wrought on, particu- 
 larly in the figure of Eve. 
 
i6 
 
 OLD TESTAMENT. 
 
 30 ABRAHAM ENTERTAINING THE THREE ANGELS. 
 
 Abraham is seated near the door of his house, at 
 table with the Angels ; one of which (to the left) sits 
 on the table itself. They are not represented with 
 that youth and light appearance supposed to be consis- 
 tent with their character ; that in front has a very 
 Jew-like appearance, and that on the right looks like 
 an old man. The patriarch holds a cup in his right 
 hand as intending to drink. Sarah is discovered lis- 
 tening at the back of the house door, and appears to 
 smile at the promise which she is supposed to hear the 
 Angels make to Abraham of a son. Behind them is a 
 boy drawing water out of a well. The back-ground 
 is filled up with trees. To the left, at the bottom, 
 is discovered with some difficulty, Rembrandt f. 1656. 
 
 U IO Jl o 
 
 31 ABRAHAM SENDING AWAY HAGAR AND ISHMAEL. 
 
 In this piece the buildings, as well as the figures, 
 are extremely well executed in a rich stile of composi- 
 tion. Abraham stands with his right foot on the first 
 step, at the door of the house. JAagar and Ishmael 
 are just departing from him, the former, with her face 
 nearly covered, appears to be weeping. Sarah is lean- 
 ing through a window, pleased at their departure. 
 Isaac is seen within the door, from which a dog is de- 
 scending the steps. At the top, to the right, is writ- 
 ten Rembrandt f. 1637. 
 
 5 3to 
 
OLD TESTAMENT. 
 
 17 
 
 32 ABRAHAM WITHJHIS SON ISAAC. 
 
 Rembrandt has chosen for this subject, the moment 
 in which Isaac asks his father, where is the offering ? 
 Abraham is represented as explaining to him the com- 
 mand which he had received from Heaven ; his right 
 hand is upon his breast, and with his left he points 
 upwards. Isaac stands before him to the right, in the 
 attitude of attention, sustaining with his hands a fag- 
 got, which he is supposed just to have taken from his 
 shoulder and placed with one end upon the ground. 
 To the left is a fire-pot with lighted embers in it. 
 At the bottom on the left is written Rembrant, 1645, 
 the d being omitted. 
 
 6rV — 5 
 
 Of this print, which is arched, there is a good copy re- 
 versed without name or date. 
 
 33 abraham’s sacrifice. 
 
 Abraham is in the middle of the piece ; in his left 
 hand he holds a sacrifical knife, and with his right he 
 covers the eyes of his son Isaac , who is kneeling, 
 and leans over his father’s right knee. The Angel 
 comes behind Abraham , and arrests both his arms. 
 On an altar a vessel is placed to receive the blood 
 of the victim. On the left is a turban, and some 
 drapery. To the right, below the summit of the 
 mountain, are seen two attendants in waiting, with 
 a laden ass ; and at a distance two travellers are com- 
 ing down a hill. This piece is executed with spirit. 
 
 B 
 
i8 
 
 OLD TESTAMENT. 
 
 At the bottom, to the right, is written Rembrandt f. 
 1655, the d is written backwards, as is likewise the 6. 
 
 Of this there is a copy reversed, without Rembrandt's 
 name, or the date, apparently by the same person who 
 copied the last print ; they are both of them well 
 executed, but possess not the spirit of the originals. 
 
 34 FOUR PRINTS FOR A SPANISH BOOK. 
 
 These prints were all etched on one plate, an im- 
 pression of which is very rarely to be met with entire ; 
 when it is, it measures 1 1 by 6 X \. At the left corner 
 at the bottom, below the subject of the first , second , 
 and third , and within that of the fourth , is written 
 Rembrandt f. 1655. The book is written by Afa- 
 nassah Ben Israel , a Jew, whose portrait is likewise 
 prefixed to the work, and is classed among the por- 
 traits in the present catalogue. 
 
 Jacob’s ladder is the subject of the first of 
 these pieces. In the upper part of the print several 
 angels are represented on a ladder, encircled with 
 a kind of glory ; and Jacob is lying on the ground 
 asleep. His head leans on his left hand, and his staff 
 is seen coming from under him near his feet. It mea- 
 sures 4-^ by 2 within the lines of the subject. 
 
 Of this piece there are four impressions. 
 
 In the first impression the objects are all more clearly 
 expressed. Jacob , with the ladder and its steps, are 
 distinctly seen. 
 
 In the second, the steps of the ladder are not perceived, and 
 the whole is darker. 
 
OLD TESTAMENT. 
 
 *9 
 
 In the third, the sides of the ladder are not seen ; and the 
 figure of Jacob is not so dark as in the second impres- 
 sion. 
 
 In the fourth every part is still darker, and the figure of 
 Jacob is with difficulty to be made out. 
 
 THE COMBAT OF DAVID WITH GOLIATH, is the 
 the subject of the second. David is placed on the 
 right, and Goliath on the left of the print, in a cuirass 
 and helmet, and has a shield on his right arm. David 
 is preparing to use his sling. They are on higher 
 ground than the army, the heads of the soldiers being 
 but just discovered over the fore-ground. 
 
 A 2 _ 2 — - 
 
 i-x O ** I o 
 
 There are two impressions, the first and scarcest , is less 
 worked upon about the head of David. 
 
 THE IMAGE WHICH NEBUCHADNEZZAR SAW IN 
 
 his dream, is the subject of the third. 
 
 oJ> 2 —— 
 
 j I O ** I O 
 
 Of this piece there are three impressions, very different 
 from each other. 
 
 The first and most rare , is that wherein the trunk of the 
 image appears in the air, separated from the legs, 
 which seem to be falling to the ground ; on the right 
 side of which, different rays or flashes of light are dis- 
 posed in angles. Beneath the image is a pedestal, on 
 which it is supposed to have stood. 
 
 In the second impression the legs are not separated from 
 the body, but only divided at the ancles ; to the right 
 is seen part of a large terrestrial globe. In this and the 
 third impression, over the image is an arch, meant to 
 convey the icka of its having been set up in a niche on 
 a pedestal. 
 
20 
 
 OLD TESTAMENT. 
 
 The third, and most common impression differs from the 
 second, in having the names of several nations written 
 on different parts of the image. On the navel is written 
 Greeci, upon the fillet on the forehead Babel , upon his 
 right shoulder Persi , upon his left shoulder Medi, along 
 his right leg Romani , and along his left leg Mahometan i. 
 The drapery round the head is also enlarged, and 
 reaches down almost to the eye-brows, and the ear is 
 no longer to be distinguished. 
 the vision of ezekiel is the subject of the 
 fourth and last of these pieces. At the top of the 
 print is a glory, in the midst of which is the Deity, 
 surrounded with angels, who are engaged in acts of 
 adoration, and at the bottom are the four animals de- 
 scribed by the prophet. 
 
 4 3 
 
 Of this piece there are tavo impressions. 
 
 In the first impression, the rays which come down on each 
 side of the boy are only marked with faint black lines, 
 without any light ; nor do they descend to the ground 
 as in the other impression. It is also less worked upon 
 in general. 
 
 35 JACOB LAMENTING THE SUPPOSED DEATH OF 
 JOSEPH. 
 
 To the left of the print, Rebecca is standing upon 
 the step of the door, which is open, in an attitude of 
 distress, with her hands joined together. Jacoby 
 sitting at her feet, and lifting up his hands, expresses 
 the sudden sorrow that seizes him upon the sight of 
 Joseph's coat, which is displayed before him by his 
 two brothers Simeon and Levi, who bring an account 
 
OLD TESTAMENT. 
 
 21 
 
 of his death. One of them points with his left hand 
 towards the place where they say Joseph had perished. 
 A little to the right of the middle of the plate, on the 
 ground, is written Rembfant van Ryn, f. 
 
 This piece, however small, is regarded as one of 
 the best performances of this master. But there is 
 so good a copy of the same size, and the figures in 
 the same direction, that it may easily be mistaken for 
 the original. The following distinction may how- 
 ever point out a perceptible difference. In the door- 
 case, above the shoulder of Rebecca , is a joint in the 
 stone, which in both is carried on till concealed by 
 the door. In the original, a stroke of the same thick- 
 ness, and about the twelfth of an inch in length ap- 
 pears under the other stroke, on the wall, up to the 
 door, above the head of Rebecca. 
 
 There is another copy a reverse, of the same size. 
 
 36 JOSEPH AND POTtPBAR’s WIFE. 
 
 Rembrandt has not treated this subject with that 
 decency which is due to the sacred source from 
 whence it was derived. The wife of Potiphar appears 
 naked up to the waist, reclined in a lascivious posture 
 upon a bed, the curtains of which are drawn up at 
 the head, and the bed clothes are thrown off her in 
 great disorder, part of the quilt, which is embroider- 
 ed, resting upon the floor. She holds Joseph by his 
 garment, who turns from her, and endeavours to make 
 his escape to the left. Notwithstanding the inde- 
 
OLD TESTAMENT. 
 
 cency of this piece, which is well executed, there ap- 
 pears below Joseph's foot, Rembrandt f. 1634. 
 
 O.JL _ A—- . 
 
 310 q-i O 
 
 37 JOSEPH TELLING HIS DREAM TO HIS BRETHREN 
 IN THE PRESENCE OF HIS FATHER AND MOTHER. 
 This piece, tho’ etched with a very light hand, is 
 highly finished. Jacob is sitting in an elbow chair 
 on the left ; he seems extremely attentive to the re- 
 cital of Joseph , who appears in the middle of the 
 piece in an attitude expressive of the words he is ut- 
 tering. Behold , vje were binding sheaves in the field , 
 
 and lo ! my sheaf arose , and also stood upright ; and 
 behold your sheaves stood round about , and made obei- 
 sance to my sheaf. Farther off, to the left, there ap- 
 pears a bed, the curtains of which being open, disco- 
 ver Rachel , the mother of Joseph , lying in it. One 
 of his sisters is sitting to the right with her back to 
 the spectator, and a book open in her hand. Jo- 
 seph's brethren are in the back ground, one of them 
 in a turban ; another to the right, who is next to 
 Joseph turns his head from him in great contempt at 
 the idea of making obeisance to his younger brother. 
 On a stove under Jacob's chair is written, though 
 scarcely legible, Rembrandt f 1638. 
 
 4ro — 3 t-o 
 
 Of this piece there are two impressions, in the first, which 
 is very scarce , the curtains at the feet of the bed, the 
 door, the head of the person in the turban, and in 
 general almost all the heads in the back-ground, are 
 much lighter than in the second impression ; and the 
 effect is better. 
 
OLD TESTAMENT. 
 
 23 
 
 38 Gideon’s sacrifice. 
 
 On the right of the print an angel is represented, 
 who with a staff applied to the sacrifice, produces fire 
 to consume it. T- he sacrifice is placed on a rock, 
 before which Gideon is kneeling ; on this rock Gideon 
 afterwards built an altar. The offering is made in a 
 wood under an oak tree. This piece is by some at- 
 tributed to F. Bol. 
 
 8 T l o — 6 7 5 -o 
 
 Of this piece there are four impressions. 
 
 In the first , which is very scarce , the angel is expressed by 
 an outline, with a very few cross strokes in the robe, 
 and the right wing. 
 
 In the second , the left wing is shaded, but the face and 
 hair remain only outlined. 
 
 In the third, the face and hair are finished, with a fillet 
 round the head. 
 
 In the fourth impression, the face and hair are also finished ; 
 but the face is differently shaped, and without the fillet. 
 In the two last impressions the ground at the angel's 
 feet is quite plain, but in the others it is shadowed with 
 the single stroke. The other parts of the print are 
 pretty much the same in all. 
 
 39 HAMAN AND MORDECAI. 
 
 Mordecal is conducted in triumph by Human in 
 the midst of the people, mounted on the king’s horse, 
 and arrayed in royal apparel, with a sceptre in 
 his right hand. He is at the king’s gate, through* 
 which at a distance is seen a round temple. Haman 
 who appears in front, extends his arms, and seems to 
 proclaim, ‘Thus shall It be done to the man whom the 
 
24 - 
 
 OLD TESTAMENT. 
 
 king delight eth to honour. To the right, king Ahasuerus , 
 with his queen Esther , are looking out of the palace. 
 A concourse of people attend who appear affected with 
 respect and admiration. This piece is executed in a 
 good stile, and is full of work. It is esteemed one 
 of the most beautiful prints of this master. 
 
 6A— 8A 
 
 40 DAVID ON HIS KNEES. 
 
 David (who is known by his harp, which lies on 
 the floor) is represented in his shirt and night-cap, 
 praying on his knees, with his elbows on the side of 
 the bed, and his hands raised and joined together ; he 
 is turned towards the left. Among the etchings on 
 the ground is to be read, with some difficulty, Rem- 
 brandt f. 1652. This piece is not well executed, 
 and possesses but little taste. 
 
 5t! — 3 to 
 
 41 TOBIT. 
 
 Tobit, who is blind, is represented walking with a 
 stick, and groping with his right hand to find the 
 door, in order to go out to meet his son T’obias on his 
 return from Rages of Media ; at his foot a dog is 
 fawning upon him. In the back view, to the right, 
 is the fire-place, with several fish hung to dry ; near 
 it stands a chair, and behind the old man is a wheel, 
 which appears to have been thrown down by him. In 
 the dark ground in front is written Rembrandt f. 
 1651. 
 
 5-^ — — r 1 
 
 U l © j l O 
 
OLD TESTAMENT. 
 
 *5 
 
 THE ANGEL ASCENDING FROM TOBIT AND HIS 
 FAMILY. 
 
 The angel Raphael is represented as ascending from 
 Tobit and his family, after having revealed himself, 
 upon their offering him half their substance, as an 
 acknowledgment for the services which he had ren- 
 dered to 'Tobias in his expedition, and the restoration 
 of sight to his father. The subject is treated in a sin- 
 gular manner. Rembrandt has chosen the moment in 
 which the angel, (of whom no more than the lower 
 limbs are discovered) is ascending to heaven, rays of 
 light issuing from him. Beneath him is a large trunk 
 open, with the baggage that had served in the expe- 
 dition to the country of the Medes , which Tobias had 
 just performed in company with the angel. A ser- 
 vant is sitting by it, and holds the ass that had carried 
 it, by the bridle in his left hand. Above his left knee 
 a figure is discovered at a distance. In the middle of 
 the piece Tobias is prostrating himself, and at his side 
 is a dog, by which he is always distinguished. Behind 
 him is his wife Sara upon her knees, with her arms 
 lifted up, and his mother Anna standing with looks 
 of astonishment, and both her hands raised, and ex- 
 tended before her. His father Tobit appears to the 
 left, in front, kneeling, with his hands joined toge- 
 ther. A servant is looking through a window, and 
 two others are at the door, one of which is carrying 
 two flaskets, or waiters, with a jug. On the left side 
 appears part of a flight of steps, which lead up to the 
 
OLD TESTAMENT. 
 
 door of the house. On the ground is written Rem- 
 brandt f 1641. 
 
 This piece is designed with taste, very well exe- 
 cuted, and produces a good effect. 
 
 4to - 6 
 
TIL SCRIPTURE SUBJECTS 
 
 FROM' the 
 
 NEW TESTAMENT. 
 
 The ANGEL APPEARING TO THE SHEPHERDS. 
 This is a night-piece in the country. In the mid- 
 dle a bridge is discovered ; and on the right some trees 
 and shrubs spring on a bank. At the top to the left 
 appears a luminous space, in which a great number of 
 cherubs are seen. Below them is an angel standing 
 upon a cloud, with his left hand raised towards 
 heaven, revealing to the shepherds the birth of our 
 Lord. They appear to be astonished and terrified at 
 the sudden light that bursts upon them ; even the cat- 
 tle express their fear by flight. The glory illumines 
 the figures, the cattle, and part of the fore-ground, 
 and likewise catches the extremities of the trees. This 
 is an exceedingly fine print, and produces an admirable 
 effect. A good impression is scarce. 
 
 IOto- — 8 t 6 o 
 
 There is an unfinished proof, which may be considered 
 as presque -unique. In it, the trunk of the principal tree 
 is entirely white, as is the sky ; and the angel and che- 
 rubs are only traced with the point. The lower part 
 
28 
 
 NEW TESTAMENT. 
 
 of the print is also blank, and the figures and cattle 
 only traced. 
 
 44 THE nativity, or adoration of the shep- 
 
 herds. 
 
 This print exhibits the inside of a stable, in the 
 middle of which the virgin Mary is sitting with the 
 infant Jesus in her lap. Joseph is on her left hand, 
 sitting on the edge of a wheelbarrow, which is over- 
 turned. Behind him are two oxen in their stalls. To 
 the left are several shepherds looking at the infant 
 over a barricade. The whole subject receives light 
 from a lamp placed over the head of the virgin. This 
 piece is lightly etched ; at the bottom is written Rem- 
 berandt , f. 
 
 4to 5tct 
 
 This print has been retouched in the dark manner 
 to amuse the over-curious in impressions. 
 
 45 THE NATIVITY, A NIGHT PIECE. 
 
 This piece is executed in Rembrandt' s dark manner. 
 The holy family form a group in the right corner ; 
 the virgin resting her head on her right hand, is 
 watching over the infant, which lies sleeping before 
 her. Joseph sits with a book open in his hands. 
 The cause of the light which falls upon this group is 
 concealed from view. On the left side two oxen arc 
 discovered, and nearer the middle are the shepherds, 
 one of whom is standing with a lantern in his right hand. 
 5 A — 7 A 
 
 Of this print there are three different impressions. 
 
 Theyf/j/ impression, according to Gersaint , is the darkest 
 
NEW TESTAMENT. 
 
 29 
 
 and most obscure, the figures being scarcely distin- 
 guishable, and the effect is not so natural as in the 
 others. It is very scarce. 
 
 In the second , which is also very scarce , there is no distin- 
 guishing the stall, which appears in the third impression, 
 but the back-ground is perfectly uniform and dark. 
 
 In the third, and most common, there appears above the 
 head of Joseph a stall formed with planks, placed hori- 
 zontally, and fastened to upright stakes, or posts, the 
 ends of which appear above the planks. 
 
 THE CIRCUMCISION. 
 
 The subject is treated in a very singular manner. 
 The virgin sits near the middle of the piece, and is 
 praying. Joseph sits near her, and holds the child on 
 his knee. There are several spectators, who are 
 very attentive to the ceremony. The rays which fall 
 from above, illuminate three-fourths of the print, 
 the rest to the right is in chiaroscuro. On the left 
 stands a ladder, at the foot of which lies a cask, and 
 at the side hangs a net. Above the net, in the cor- 
 ner, is written Rembrandt f. 1654, and the same again 
 below the net. 
 
 THE LITTLE CIRCUMCISION. 
 
 This beautiful little piece is highly finished, in a 
 very good taste, and the chiaro-scuro has a great effect. 
 Two pontiffs appear in the middle of the print, and 
 he that is on the left holds the infant on his knees, while 
 the other, who is habited in a cope, and sits to the right 
 
3° 
 
 NEW TESTAMENT. 
 
 on a folding chair, circumcises him. In the front to 
 the right, the virgin is represented kneeling, and on the 
 opposite side is another person in the same attitude. 
 The virgin is covered with a veil, and praying, with 
 her hands lifted up ; over her, Joseph is seen standing 
 in an inclined posture, with his hands joined, and 
 looking with great anxiety towards the child, whose 
 head is encircled with a glory. Higher on the left 
 side appears an altar, upon which is placed a smoking 
 vase, and at the side of it a Levite in an erect posture, 
 who holds a crosier in his left hand. 
 
 oJ 2 _!_ 
 
 jl O x 1 O 
 
 48 THE CIRCUMCISION. BERENDRECK ex. 
 
 This piece is executed with little more than an 
 even single stroke, without much taste. The priest 
 who performs the operation of circumcision, is placed 
 on the left, habited in a cope and mitre. On the 
 right side is a stair case, on which stand two specta- 
 tors of the ceremony, leaning over a balustrade ; there 
 are several other spectators below. At the bottom, 
 on the left side, is written Rembrandt fecit , and on 
 the right side J. P. Berendreck ex. 
 
 8 fo — 6 T V 
 
 Of this piece there are /wo impressions. 
 
 The first is without the name of Rembrandt , and it does 
 not terminate with the column on the right. 
 
 4Q THE PRESENTATION OF JESUS IN THE VAULTED 
 TEMPLE. 
 
 To the right appears Simeon , kneeling, with the 
 infant Jesus in his arms ; the virgin is also kneeling 
 
NEW TESTAMENT. 
 
 3i 
 
 before the prophet, and over her Joseph is seen stand- 
 ing holding a pair of doves. A ray of light proceeding 
 from the left corner, falls on the child. Several men 
 and women stand behind, who appear attentive to the 
 ceremony. In the middle of the piece is Anna , the 
 prophetess, with a crutched stick in her hand ; and 
 the holy dove appears hovering over her head. In 
 front to the left are two Jews standing conversing to- 
 gether, at their feet sits a rough dog. The back view 
 is the inner part of the temple, where many Jews are 
 assembled. This piece is scarce , but though it is ex- 
 ecuted something in the dark manner, the effect is 
 not considerable. 
 
 8A0 ~ I i-ro 
 
 Of this print there are two impressions. 
 
 In the first , which is extremely rare , Simeon s head is unco- 
 vered ; his drapery is much lighter, as is likewise the 
 virgin’s, but the figure of Joseph is much darker than in 
 the second impression, and his heard is larger. 
 
 In the second impression Simeon s head is covered with a 
 calotte , or leather cap. 
 
 THE PRESENTATION, IN REMBRANDT’S DARK 
 MANNER. 
 
 The subject is treated in a very uncommon manner, 
 and the piece executed in a singular stile, the ef- 
 fect of which is very striking. On the right side of 
 the print the high priest appears sitting on a seat that 
 is elevated on some steps ; the infant Jesus is present- 
 ed by Simeon kneeling, who, as well as the infant, 
 has a glory round the head. The virgin and Joseph 
 are kneeling on the left side, and in the middle is 
 
32 
 
 NEW TESTAMENT. 
 
 another priest in a cope, standing, holding in his hand 
 a crosier, richly ornamented. On each side is a sin- 
 gle spectator of the ceremony, looking over the front 
 of a gallery, which extends from pillar to pillar. It 
 is very scarce. 
 
 8^— 6 A 
 
 Of this piece there are two impression?. 
 
 In the first , which is extremely rare , the left part of the 
 print is totally in shade, the virgin and Joseph but 
 confusedly seen, and the whole of the print is much 
 darker than in the impression which has been described. 
 
 51 THE PRESENTATION, WITH THE ANGEL. 
 
 This piece is lightly etched, and the back-ground 
 in general too faint, the aqua-fortis not having well 
 succeeded. The whole subject is towards the right 
 of the print. The virgin is near the middle, and 
 Joseph on her right hand, both kneeling before Simeon, 
 who is sitting, and holds the infant in his arms. A- 
 bove the virgin is seen Anna , the prophetess, with her 
 hands joined together ; an angel with expanded wings 
 appears over her left shoulder, looking her full in the 
 face, and with his left hand points towards the child 
 Jesus. In this group are several spectators, and a- 
 bove, (behind them) is an extensive flight of steps, 
 leading to an inner part of the temple, with many 
 persons ascending them. To the left appears the hin- 
 der part of a cripple, with a wooden leg. In a mar- 
 gin at the bottom is written Rt. 1630. It is scarce. 
 
NEW TESTAMENT. 
 
 33 
 
 There is an impression extremely rare , which is 4^ in 
 heighth. At the top is a margin which has been cut, 
 by which the print is reduced to its present size. 
 
 52 THE LITTLE FLIGHT INTO EGYPT. 
 
 This piece is well designed and executed, but it is 
 difficult to meet with a good impression. The holy 
 family are crossing towards the left. Joseph has a 
 staff in his left hand, and holds the bridle of the ass 
 in his right, which he pulls towards him, to make 
 the beast mount a little eminence. The effort which 
 the ass makes to ascend is admirably expressed. The 
 virgin sits on the ass with the child on her lap. The 
 baggage is behind her, in the front of which is fasten- 
 ed a mallet and a saw. To the left is the trunk of a 
 large tree, and some other trees are in the distance. 
 In a slip at the bottom, which is not left quite blank, 
 is written Rembrandt inventor et fecit, 1633. 
 
 3t’o- — 2t% 
 
 There is another Flight into Egypt which is regarded 
 as unique. The virgin is sitting on an ass, travelling 
 to the left ; she holds the infant JesUs in her arms. 
 Joseph has a staff in his left hand, and with his right 
 is leading the ass by the bridle ; he is seen in profile, 
 his garment is tucked up, and tied round with a gir- 
 dle, at which hangs a saw, his usual characteristic. 
 This print in the back ground is scratched and 
 spotted, but is lightly etched ; it has little effect, and 
 probably on that account displeased Rembrandt , who 
 cut the plate, to the size in which it is recorded by 
 
 c 
 
34 
 
 NEW TESTAMENT. 
 
 Ger saint under a different class, N°. 163, viz. 3 T V 
 by i T 9 ^ but when entire, as it has been described, it 
 measured by 4— 
 
 53 THE FLIGHT INTO EGYPT, A NIGHT PIECE. 
 
 In this piece the holy family are likewise travel- 
 ling to the left. Joseph appears behind the ass’s 
 head, and carries a lantern in his right hand, which 
 illuminates the piece. The virgin is riding on the 
 ass, with the infant covered up on her lap. A bottle 
 hangs on the ass’s shoulder, and behind the virgin is 
 the luggage in a covered basket. To the right a 
 tower on a hill is perceived. 
 
 5 4to' 
 
 Of this print Marcus had eight impressions all varied in 
 their effects. Gersaint mentions three only, and the 
 Supplement enumerates six. 
 
 The first impression is extremely rare ; it is little more than 
 the etching, without being worked upon by the gra- 
 ver. The group is almost wholly enlightened, and 
 the rays which proceed from the lantern are strong and 
 much diffused. The trees on the left, with the tower 
 on the hill to the right, and the sky above it, are all 
 readily discriminated. The two hinder legs of the ass 
 are parallel, though the off fore leg is in motion. 
 
 In the second impression, which is wry scarce , the light re- 
 flects upon the front of the figure of Joseph , from the 
 knees upwards ; likewise on the head, neck, and legs 
 of the ass, and on the right cheek of the virgin, and 
 downwards to the shoulder of the ass. The bottle and 
 luggage are plainly seen, but the landscape and the 
 sky are not so, particularly the landscape. 
 
NEW TESTAMENT. 
 
 35 
 
 The third impression is still darker. 
 
 The fourth is darker than the third, but the luggage is still 
 discernible. 
 
 The fifth is still darker, without the distinction of the sky 
 and landscape. The bottle and the luggage are scarce- 
 ly to be made out. 
 
 The sixth is gradually darker. 
 
 The seventh impression is quite dark, except the lantern, 
 the fore-part of Joseph , the head of the virgin, and 
 the head and bended knee of the ass. 
 
 The eighth impression is that in which the moon is intro- 
 duced. 
 
 54 THE RETURN FROM EGYPT. 
 
 The virgin and Joseph are travelling on foot to 
 the right, leading Jesus between them, who appears to 
 be of the age at which he is afterwards represented to 
 have been found by them disputing in the temple. A 
 little dog is running before them. The back ground 
 is in general rocky, with some trees on the left side. 
 To the right is a piece of water, with a bridge of two 
 arches over it, and some houses on both sides of the 
 bridge. A great number of cattle are driven towards 
 the bridge, over which, in the farthest distance, is a 
 castle on a rock. At the bottom, to the right, is 
 written Rembrandt f. 1654. It is scarce. 
 
 3 to — 5t-o 
 
 55 THE FLIGHT INTO EGYPT, THE HOLY FAMILY 
 
 CROSSING A RILL. 
 
 The virgin is represented holding the infant in her 
 arms, and sitting on the ass, which is crossing a rill 
 
36 
 
 NEW TESTAMENT. 
 
 of water, in which 'Joseph is up to the knees, leading 
 the ass with his right hand, and groping with his 
 staff in the left. Their progress is to the right. 
 The back ground consists of rocks, and shrubbery 
 growing from them, without any sky being seen. At 
 the bottom, towards the left, is written Rembrandt 
 f. 1654. This piece is a companion to the last, be- 
 fore which it ought to have been ranked. 
 
 3 to— ' 5-ro 
 
 56 THE FLIGHT INTO EGYPT, IN THE STILE OF 
 ELSHEIMER. 
 
 This is a fine piece designed in the stile of Adam 
 Elsheimer , and executed in the manner of Count Goudt. 
 The landscape here is principal, and represents aval- 
 ley, or dell, into which the holy family are descend- 
 ing from the right. On each side are hanging woods, 
 through a vista of which is seen a winding river, and 
 a town, with a spire steeple in it. The view beyond 
 these is terminated by a chain of mountains. In 
 front of the wood on the right, the virgin is sitting 
 on the ass, with the child wrapped up in her lap. 
 Joseph has hold of the bridle, and guides the ass down 
 the hill. This print is scarce. 
 
 8 ro — 1 1 -ro- 
 
 Of this print there are t<wo impressions, besides an unfi- 
 nished proof which is extremely rare , being taken off 
 by Rembrandt that he might see the state of the plate 
 on which he was working. The chiaroscuro being 
 entirely wanting, it is not animated with that spirit 
 which glows in the finished plate; the group of fi- 
 
NEW TESTAMENT. 
 
 3 7 
 
 gures, with the ground about them, are wholly light. 
 In th t first finished impression, which is very scarce , the 
 bur is left, which renders it more agreeable than the 
 common impression, which became glaring, after the 
 lights were given to it by the burnisher. 
 
 THE REST IN EGYPT, IN A WOOD, BY NIGHT. 
 
 This is a beautiful little etching, finely executed, 
 and has a good effect. The virgin is sitting on the 
 ground in front, with the infant on her lap, support- 
 ed by her left hand ; she rests her right elbow on a 
 bank, with her hand to her forehead, under her hat. 
 Joseph is likewise sitting on more elevated ground, 
 immediately behind her, leaning his right elbow on 
 the bank, with his left hand placed on his knee. A 
 bottle and part of the luggage is seen on the ground, 
 with a strap thrown over it unbuckled. Above Jo- 
 seph's right shoulder, on the bough of a tree, hangs 
 a lantern, which illuminates the piece. To the 
 right the head and neck of the ass appear. 
 
 _ 6 ^ 4 
 
 3 To 2jo 
 
 Of this piece there are two impressions. 
 
 In th z first, which is extremely rare , the ass is not intro- 
 duced. 
 
 THREE PIECES WHICH ARE GENERALLY CLASSED 
 TOGETHER ; THE REST IN EGYPT, ST. PETER, 
 AND A MAN WITH A PEN. 
 
 These pieces, which are nearly of the same size, 
 are all etched with a very light stroke. Probably 
 Gersaint has classed them together on account of the. 
 
38 
 
 NEW TESTAMENT. 
 
 aqua fortis having operated in an equally weak de- 
 gree on them all ; but this method, as well as that 
 adopted in N°. 34, affects the real number of the 
 prints executed by this master, and in this instance is 
 particularly wrong, the subjects belonging to two 
 classes, viz. Subjects from the New 'Testament, and 
 Fancy subjects. 
 
 THE rest in Egypt is the most common of the 
 three. The virgin and Joseph are represented sitting 
 on a bank, beneath an overhanging rock. Joseph 
 throws his left leg over the right knee : he holds an 
 apple in his left hand, and in his right a knife, with 
 which he seems intending to cut it. Near his foot lies 
 a saddle. The virgin with her right arm supports the 
 infant on her knees, and with her left hand gently 
 raises the linen that covers him. Joseph looks ear- 
 nestly at the child, with a smile on his countenance. 
 To the left is the stump of a tree ; on the top of it a 
 bird is perched, and over it another bird is hovering, 
 as if going to alight. At the bottom, to the left, is 
 written Rembrandt f. 1645. 
 
 or " 
 
 THE st. peter is more scarce. The saint is kneeling, 
 and seen in front ; he is habited in a kind of night- 
 gown, or cloak, and holds a key in each hand ; his 
 right hand rests on his staff, and the left on a hillock, 
 from which grows a large tree, the lower part of its 
 trunk only being seen. At the bottom, towards the 
 
 right, is written Rembrandt f. 1645. 
 
 - 1 .2 
 
 5 1 ® 4* ® 
 
NEW TESTAMENT. 
 
 39 
 
 THE man with A pen is equally scarce with the St. 
 Peter. To the left an old man in a cap, with a long 
 beard, is represented nearly in profile ; he rests his 
 left hand on a book, which stands upright on a table ; 
 he holds a pen in his right hand, and rests it over his 
 left, and his right elbow is supported by something 
 not made out. At the side of the table in the right 
 corner, stands a globe, of which one fourth part only 
 is discovered. 
 
 - 1 A 2 . 
 
 5 * o 4 i o 
 
 THE REST IN EGYPT, UNIQUE. 
 
 This piece is very lightly etched, almost with 
 the single stroke, and though not executed with so 
 much taste, as generally appears in Rembrandt's 
 works, yet it has passed for his ; probably because it 
 was found in the set of his works which had been col- 
 lected by the Burgomaster Six, or which indeed was 
 formed by Rembrandt himself, who sent his pieces 
 to his friend as he finished them. This rare print was 
 in the possession of M. Houbraken, who bought it, 
 with many others, at the sale of the burgomaster’s 
 effects after his decease. Notwithstanding, however, 
 so many apparent proofs in its favour, I have authori- 
 ty to say, on the opinion of an excellent judge of the 
 works of this master, that it has nothing of the man- 
 ner, composition, or execution of Rembrandt in it. 
 
 Joseph is represented sitting on the ground, to the 
 right of the print ; between his legs is a kind of pot, 
 or kettle, placed upon some wood ; he holds in his 
 
40 
 
 NEW TESTAMENT. 
 
 right hand a bowl, or dish, out of which the virgin 
 with a spoon feeds the infant, sitting on her knees. 
 The ass is placed behind him, and at his feet is a 
 hand-basket, full of different tools, with a saw lying 
 across it, by which Joseph is characterized as a car- 
 penter. 
 
 8 + 6-*- 
 
 u I O U I O 
 
 60 THE VIRGIN AND THE INFANT JESUS IN THE 
 
 CLOUDS. 
 
 The virgin is kneeling on her left knee, and holds 
 the infant on her right, supporting him with her arms ; 
 her hands are clasped together. From the head of 
 Jesus proceeds a large glory, and the virgin’s head is 
 thrown back in an attitude of devotion. In front be- 
 fore her left knee appears the head of a child reversed, 
 which had either been left on the copper before Rem- 
 br andt began this subject, or was introduced by him 
 as a puzzle for the connoisseurs. A little below this 
 head is with difficulty discovered Rt. f. 1641, as 
 likewise lower down, and farther on the right, the 
 game mark and date. 
 
 A 6 .1 
 
 ® I O 4 I o 
 
 In M.DeBurgy's catalogue mention is made of /wo impres- 
 sions, the difference in which consists in the mouth of 
 the virgin. 
 
 61 THE HOLY FAMILY. 
 
 This piece is designed with much taste, and lightly 
 etched. The virgin is sitting near the foot of a bed, 
 of which one of the posts, with part of the curtain, is 
 
NEW TESTAMENT. 
 
 4 * 
 
 seen ; she holds the infant on her knee, supporting 
 it at the breast with her right arm, her left hand be- 
 ing applied to the breast. Her left shoe is off. She 
 has a pleasing countenance ; her head-dress, and in- 
 deed the whole of her person and dress is in a plain 
 elegant stile. Joseph is seen in profile to the left, 
 reading. Close by the left side of the virgin is a trunk 
 open, and beneath it on a step is written Rt. 
 
 o _ 8 2 — 
 
 ^ I O ^ I O 
 
 62 THE HOLY FAMILY, JOSEPH LOOKING IN AT THE 
 
 WINDOW. 
 
 This piece is etched in a dry, hard stile, without 
 effect. The virgin is sitting in front, holding the 
 child on her lap ; her hands join together, and she 
 leans so forward that her head touches that of the 
 child. At her right side on a covered step is an el- 
 bow chair with a cushion on it, and above it is a ca- 
 nopy. On the step lies a cat. Joseph look’s into the 
 room at them, through a window, before the middle 
 of which is a glory, proceeding from the heads of the 
 virgin and child. To the right is a stone chimney 
 piece, with fuel on the hearth. In the middle, at 
 the bottom, is written Rembrandt f. 1654. 
 
 3t-o— 5to 
 
 63 JESUS DISPUTING WITH THE DOCTORS IN THE 
 
 TEMPLE, A SKETCH. 
 
 Jesus is sitting a little to the left of the print, near a 
 group of Rabbis, one of whom, sitting in front of him, 
 seems to be in disputation with him. Another, sit- 
 
NEW TESTAMENT. 
 
 ting in the centre of the piece, has more the grotesque 
 appearance of a cobler or blacksmith, with his leather 
 apron, than of a Jewish Rabbi. To the right of him 
 stands a tall figure seen in profile, behind him is' a 
 little old man, stooping and leaning on his stick. To 
 the right are four spectators looking over a partition 
 covered with a loose cloth or drapery. At the top, a- 
 bovethe head of Jesus is written Rembrandt f. 1654. 
 This piece is a sketch, executed with little more than 
 the single stroke. 
 
 3t 8 o — 5to 
 
 64 THE SAME SUBJECT, A LARGER SKETCH. 
 
 In this piece are about twenty figures. Jesus 
 stands to the right addressing himself to the doctors, 
 with both hands a little raised. One of them, on the 
 right side, sits opposite to Jesus, on a stool with a 
 cushion on it. Another on the left side sits on the 
 floor, leaning on his right elbow. Six of the figures 
 on the right appear to be spectators, and are looking 
 over a partition covered with drapery, in the manner of 
 the last piece. T o the left, at the bottom, is written 
 Rembrandt f. i6c2. 
 
 4 A - 8^0 
 
 65 THE SAME SUBJECT, A SMALL UPRIGHT. 
 
 This little piece is composed in a good stile, and 
 finely etched with a tender point, but the impressions 
 are weak, the aqua fortis having failed to produce its 
 effect. To the right of the print, the young Jesus is 
 standing on the uppermost of two circular steps, in 
 the attitude of a person who is reciting. He, and 
 
NEW TESTAMENT. 
 
 43 
 
 three doctors, form a kind of circle. Farther back, in 
 the temple, are three other doctors, sitting behind a 
 table covered with tapestry. They appear to have re- 
 course to a large book that is open, in order to de- 
 cide upon some controverted point. In the distance, 
 to the right, Joseph and Mary are entering in at 
 the door of the temple. This piece is scarce. 
 oJL 2 -~ 
 
 S I O A IO 
 
 Of this piece there are two impressions. 
 
 The first is extremely rare. Instead of the three doctois 
 at table, there is only one, and on the left, close to the 
 edge, are two other figures which were cut off in re- 
 ducing the plate, which measured 4^ by 3-^ includ- 
 ing a margin, wherein is written Rt. 1636. 
 
 66 LITTLE LA TOMBE. 
 
 This print is generally misnamed; being called 
 The Little Tomb, but the tomb exists only in ima- 
 gination. The original and true name of the print is 
 Little La Tombe, the name of an artist of Rembrandt's 
 acquaintance, whose portrait is to be found in the group, 
 but not now generally known. This circumstance, 
 and the diminutive stature of the artist, gave rise to the 
 name of the print. Jesus Christ appears in the mid- 
 dle standing on a piece of elevated stone work, with 
 both his hands lifted up, preaching to the people. 
 They seem very attentive to his discourse, and the 
 heads in general are full of expression and character. 
 Through an arch some buildings are seen ; in the 
 middle of the fore-ground a boy is represented lying 
 
44 
 
 NEW TESTAMENT. 
 
 down and tracing out something with his left fore- 
 finger ; a top and string are lying by his side. To 
 the right of him a woman is sitting on the ground, 
 seen from behind ; she holds a child on her knees ; 
 on her right hand a man sits on the ground, leaning 
 on his elbow, paying great attention to our saviour’s 
 discourse ; above him stands an old man with a great 
 beard, in profile, stooping. At the feet of Jesus sits 
 a woman, resting her head on her left hand, and to 
 the left of him sits a man leaning, with his left hand 
 up to his face, which is very expressive of attention. 
 On the left side in front, stands a man in a turban. 
 This piece is well executed, and has a good effect. 
 
 6t5 - 8A- 
 
 Of this print there is an impression very scarce , in which 
 the sleeve of the man standing on the left side in a tur- 
 ban, with his gown tucked up, is white. There is like- 
 wise an impression with the name and date Rembrandt 
 f 1636, but it is evidently added by another hand. 
 THE TRIBUTE TO CAESAR. 
 
 This is a beautiful little piece, full of figures, ex- 
 tremely well executed, and produces a fine effect. 
 Our Lord, round whose head is a brilliant glory, 
 appears, in the midst of the Pharisees, answering 
 their questions concerning the payment of tribute 
 to Casar. He puts his left hand upon one hand of 
 the Pharisee, lifting up the right, with which he 
 points to heaven, while he says, Render unto C a-sar 
 the things that are C res ads, and unto God the things 
 that are God's. They are struck by the force of this 
 
NEW TESTAMENT. 
 
 4 $ 
 
 reply, and their countenances are expressive of great 
 disappointment. To the left is a building, which 
 appears to be a temple, out of which three figures are 
 coming. In the left corner, at the bottom, is an 
 arch, towards which a man is descending down a flight 
 of steps. Over the arch sit two persons who are read- 
 ing in a book. 
 
 2to— 4to 
 
 Of this piece there are two impressions. 
 
 The first is extremely rare , being clearer than the other, 
 which is more wrought upon. 
 
 In the second impression the man in the right corner, 
 sitting on a richly ornamented stool, is more shaded 
 both in the face and on his clothes. Those impres- 
 sions are always to be suspected which are too 
 black, and in which the figures are shadowed with too 
 many strokes. 
 
 68 CHRIST DELIVEF ING THE KEYS TO ST. PETER. 
 
 This piece is erroneously titled by Ger saint. The 
 subject is Our saviour healing the sick , and is the same 
 piece as described in N°. 76. 
 
 69 JESUS CHRIST DRIVING THE MONEY CHANGERS 
 
 OUT OF THE TEMPLE. 
 
 This is a fine print, full of work, highly finished, 
 and produces a grand effect. The architecture of the 
 temple is richly disposed, many pillars are seen, and 
 from the arched ceiling on the left, is suspended a 
 lustre. Our saviour, from whose head proceeds a 
 glory, is in the middle of the fore-ground ; he has 
 overturned a table, at which sat a money-changer, 
 
46 
 
 NEW TESTAMENT. 
 
 who is securing a bag with money ; several pieces are 
 sliding off the table. The man looks up with fear at 
 our saviour, whose left hand holds up a scourge, with 
 which he is about to strike him. A woman with a 
 basket of doves on her head, with many other per- 
 sons, are endeavouring to get away. To the right all 
 are in hurry and confusion ; some are thrown down by 
 cattle, which are making their escape. Behind them 
 on an elevation in the temple is seen the high priest, 
 with many attendants. One of them holds a crosier, 
 and they appear to be sitting in judgment on a person 
 who is on his knees before them. The heads of this 
 piece are full of expression. At the bottom, to the 
 right, is written Rembrandt f. 1635. 
 
 r_-L_ — . (y—— 
 
 There is a second impression, in which the man, who is 
 dragged on the ground by the ox, has the mouth much 
 wider than the other ; but this has been done since 
 Rembrandt' s time, as the plate has been long preserved, 
 and has been re-touched in other parts. 
 
 70 THE PRODIGAL SON. 
 
 This piece is well designed and executed. The 
 repenting prodigal on his knees upon the steps of his 
 father’s house, is embraced and raised by his father. 
 His only covering is a cloth tied round his middle. 
 His mother appears opening a casement to look at 
 him ; to the right a servant is coming out of the 
 door with apparel to clothe him, and behind him, 
 the elder son is seen with a countenance expressive 
 ef disappointment at the return of his brother. The 
 
NEW TESTAMENT. 
 
 47 
 
 countenances of the father and the prodigal son, are 
 equally expressive, one of compassion and forgiveness, 
 meeting that of remorse and penitence in the other. 
 At a distance, through an arch to the left, is seen a 
 peasant with cattle, alluding to the parent’s command 
 to kill the fatted calf. Under the left foot of the fa- 
 ther is written Rembrandt f. 1636. 
 
 6 1 c- 4 -- 
 
 I O J I o* 
 
 JESUS AND THE SAMARITAN WOMAN AT THE 
 WELL, ARCHED. 
 
 This piece is arched at top. Our Lord is sitting 
 behind Jacob's well in the left part of the print, lean- 
 ing his right arm over an upright stone, placed at the 
 back of it, upon which is written Rembrandt f. 1658. 
 His left hand rests upon his knee. The woman is 
 standing opposite to him towards the middle of the 
 print ; she leans on a bucket which stands on the 
 edge of the well, her arm passing under the handle of 
 it. Her hands are placed before her, one upon the 
 other. Between our saviour and her is a rock, which 
 is differently shaded in the several impressions, an 
 earthen pitcher stands on the lower steps of the well. 
 Some of the disciples are approaching towards the 
 well. In the back ground appears the city of Sichar 
 in Samaria , with its gardens ; and travellers are pas- 
 sing to and fro. 
 
 4t 9 o ~ 6 T V 
 
 Of this piece there are four impressions. 
 
 The first impression, which is extremely rare , has neither 
 name nor date. The head of Jesus is wholly differ- 
 
48 
 
 NEW TESTAMENT. 
 
 ent from the other impressions. The weeds which 
 are before the well to the left, are not shadowed. 
 The rock near which our saviour rests on his knee 
 is very dark, the back-ground above the head is also 
 shaded, and there is a blank margin of three inches 
 above the arch. 
 
 In another impression without the margin, the name and 
 date are not inserted. The weeds at the side of the 
 well are shaded, and the rock, near our saviour’s left 
 hand, is white. Thus far is according to Gersaini’s 
 account, and Pierre Tver's in the supplement ; but in 
 De Burgy's catalogue, mention is made of four impres- 
 sions, which, like all the others in that catalogue (only 
 made for the sale) are not properly distinguished. In 
 this instance they are thus enumerated ; 
 
 Chrift with the Samaritan woman at the well, with the 
 shadow, and the little rock white. First impression. 
 The same, without the shadow, with the rock dark. 
 
 The same, without the shadow, wj£h the rock white. 
 
 The same, without the shadow, with^ the rock grey, and 
 some. variation at the well. 
 
 72 JESUS AND THE SAMARITAN WOMAN AT THE 
 WELL, AN UPRIGHT. 
 
 In this piece, which is executed in a good taste, 
 and highly finished, there is a large building to the 
 left in ruins, in which several arches are seen in per- 
 spective, with a flight of stairs leading to them. In 
 the front appear two pieces of timber, which support 
 a pulley, from whence hangs a chain, at the end 
 of which is fastened the bucket that stands on the 
 edge of the well : the woman has hold of the chain 
 
NEW TESTAMENT. 
 
 49 
 
 with her right hand, a little above the bucket, and 
 rests the other on the side of the well. Our Saviour 
 sits on the left side of the well, and appears to be ad- 
 dressing her with great earnestness, with his right hand 
 raised opposite to his breast. In the distance, to the 
 right, is the city of Sichar , from whence the disciples of 
 Jesus are coming to him with provisions. At the 
 top, on the same side, is written Rembrandt f. 1634. 
 It measures 4^- by 4.^ at top, and 4^ at the bottom. 
 
 73 THE SMALL RESURRECTION OF LAZARUS. 
 
 This piece is extremely well designed in a pictu- 
 resque stile, and executed with a fine point. This 
 interesting scene is in the inside of a cavern, with a 
 tower on a hill,'seen through an aperture of it. Jesus 
 Christ stands on the left, in an attitude full of dignity 
 and grace ; and Lazarus is rising from a tomb on the 
 right. The attention and astonishment of the spec- 
 tators is admirably expressed, particularly in one of 
 the sisters of Lazarus , who is kneeling in the left 
 corner, in a very striking attitude. Beneath her 
 feet is written Rembrandt f. 1642 ; the last figure 
 is reversed. 
 
 6 — 4to ' 
 
 74 THE LARGER RESURRECTION OF LAZARUS. 
 
 This is a large arched piece, finely executed, and 
 the chiaro-scuro produces a great effect. Our Lord, 
 who is placed a little to the left, and turned to the 
 right, is represented standing in a dignified attitude, 
 on a stone which appears to have been a part of 
 the tomb of Lazarus. His left hand is extend- 
 
 D 
 
5 ° 
 
 NEW TESTAMENT. 
 
 ed above his head, and his right rests upon his side ; 
 behind him is a group of six figures, two of whom, 
 with uplifted hands, appear terrified at the prodigy. 
 At the feet of our Lord appears Lazarus , in the action 
 of just rising above the tomb ; his death-like counte- 
 nance is admirably expressive of his late situation. 
 On the right are several figures ; one of them, proba- 
 bly intended for his sister, stretches out her arms, and 
 seems in haste to receive him ; above her a man (his 
 head covered with a cap) starts back with terror and 
 amazement. Above our Lord are some folds of 
 drapery that form a kind of funereal canopy, within 
 which, in the back-ground, hang the turban, and 
 sword, with the bow and quiver of Lazarus. On 
 the rock, opposite to the breast of our Saviour, is 
 written Rt. v. Rynf. 
 
 14-ra — 
 
 Of this piece there are three different impressions. 
 
 The Jirst is extremely rare , if not unique. The man to the 
 right, in the attitude of terror, has his head uncover- 
 ed. Before the tomb, near the right corner, is a wo- 
 man seen from behind, which Rembrandt effaced, and 
 substituted the present one in its stead. 
 
 The second impression, which is extremely rare, differs only 
 from the first in the substitution of the woman in pro- 
 file, in the right corner ; and a change in the face of 
 the other, who stretches out her arms. 
 
 In th t third impression the frighted man has a cap on. 
 
 75 THE HUNDRED GUILDER PIECE. 
 
 The piece generally known by this name, repre- 
 sents our Lord healing the sick. He is seen in front. 
 
NEW TESTAMENT* 
 
 standing a little to the left, with an extensive glory 
 proceeding from his head ; he leans his left elbow upon 
 some stone-work, and his left hand is held up ; his 
 right hand is stretched out towards the people to whom 
 he is speaking. In front, towards the middle, a wo- 
 man appears on a mattress, lying on the ground, de- 
 pressed with languor and disease ; above her an old 
 woman raises her shrivelled arms in a supplicating 
 posture ; another approaches our Saviour, carrying a 
 child ; these, with many other sick persons, implore 
 his assistance. To the left are many figures that ap- 
 pear to be spectators of the miracles, some of them 
 seem to be disputing about the power or authority by 
 which they are performed. To the right are a great 
 number of sick persons. One in a wheelbarrow, with 
 tw r o figures just above him, an old woman leading an 
 old man, are most admirably expressive of great age 
 and decrepitude. To the right of them an A Ethiopian 
 is seen with a camel in the back-ground, denoting 
 that the fame of our Saviour’s miracles had spread far 
 abroad. This piece is shadowed to the right, and on 
 the left is illuminated. It is generally esteemed the 
 chef d' oeuvre of Rembrandt , being highly finished, the 
 characters full of expression, and the effect of the 
 chiaroscuro very fine. A good impression is very 
 scarce. It measures on the left side 1 1 inches, and on 
 the right Io T 9 o, by 15-^ at the top, and 15— at the 
 bottom. 
 
 A fine impression of this print sells for thirty guineas. 
 
 The plate was purchased in Holland by Captain Baillie , who 
 re -touched it, but it is now cut up. There are im- 
 
NEW TESTAMENT. 
 
 53. 
 
 pressions of the two groups from the left extr emity 
 one above the other. 
 
 One takes in the dog’s shoulder, and measures 5-A. by 3. 
 
 The other terminates with the hand of the figure who 
 places it on his left breast, and measures 2^ by 3. 
 
 76 JESUS CHRIST HEALING THE SICK. 
 
 Pierre Tver says that this and N°. 68 is the same 
 print, which from Ger saint's imperfect description, is 
 probably the case. Our Lord stands near the middle of 
 the piece, but rather inclined to the right ; his head in- 
 circled with a large glory. An old man is kneeling be- 
 fore him, and two others at his side, and close to the left 
 in front, a person who seems to be dropsical, is sitting 
 in an elbow chair. There are several other charac- 
 ters, chiefly spectators. This piece is slightly etched, 
 almost with the single stroke, and is very scarce. At 
 the bottom, near the middle, is written Rembrandt 
 16 CO. 
 
 6A — 8tV 
 
 THE GOOD SAMARITAN. 
 
 In the front a horse is seen, standing in profile, which 
 a lacquey holds by the bridle. On the other side of the 
 horse appears a man who carries in his arms the wound- 
 ed traveller whom he has just taken from his horse. On 
 the left is a flight of steps which lead to the door of the 
 inn, where the good Samaritan is charging the host to 
 take proper care of his guest. To the left a man in a 
 cap and feather looks at the transaction through a win- 
 dow. To the right is a well, from which a woman is 
 drawing water, and in the distance beyond it, are seen se- 
 veral public buildings ; and beyond them a rock- The 
 
 77 
 
NEW TESTAMENT. 
 
 S 3 
 
 introduction of a dog, towards the right corner, in an 
 attitude in the true Dutch stile, is an injury to 
 the composition (considered as a piece of sacred his- 
 tory) which otherwise is very fine, and richly pictu- 
 resque. This is one of the pieces that Rembrandt 
 has finished with the greatest care, producing a won- 
 derful effect, with a fine point, and light hand. In 
 the middle of the margin, at the bottom, is written 
 Rembrandt inventor et fecit, 1633. 
 
 10 A- — B 
 
 Of this print there are three different impressions; and as 
 but very few of the first and second were taken off, they 
 are exceedingly fine and valuable. 
 
 In th t first, which is extremely rare, the tail of the horse 
 appears white, and the wall on the landing of the steps 
 is not shaded. 
 
 In the second, which is more scarce than the first, the tail of 
 the horse is shadowed, and the neck is more shadow- 
 ed, but the wall remains white. 
 
 In the third, which is most comtnon , the horse’s tail, and the 
 wall, are both shadowed, and the name and date are 
 added. 
 
 There is a copy of this print which may deceive collectors, 
 as it is the same size, and in the same direction as the 
 original. The horse’s tail, and the wall, are shadow- 
 ed. In the margin is written to the right, Rembrandt 
 van Ryn, inventor, and to the left, 5 . Savri excud. 
 This margin is generally cut off to deceive purchasers. 
 
 OUR LORD IN THE GARDEN OF OLIVES. 
 
 Our Lord is in front, to the right, praying ; he 
 kneels on a bank, or eminence, and is supported by 
 
54 
 
 NEW TESTAMENT. 
 
 an angel ; on the left, lower down, are the apostles 
 sleeping on the ground ; and behind, on the same side, 
 the door of the garden appears open, and the guards 
 are seen entering to apprehend Jesus. Above them, 
 a tower in the city appears. The moon is seen to- 
 wards the top. Close in the right corner is to be read, 
 though with some difficulty, Rembrandt f. 165. 
 There was not room to add the fourth figure. 
 
 4ttt 3to 
 
 There are impressions of this piece which have more or 
 less of the bur, but without any other variation, than 
 what the effect, in consequence of it, produces. 
 
 79 OUR LORD BEFORE PILATE. 
 
 The front of the judgment hall is here represented, 
 with the base of a portico projecting, on which are 
 Pilate and his attendants, who shew Jesus to the peo- 
 ple that are assembled before it. In two niches above, 
 are the statues of Justice and of Mercy. Pilate is stand- 
 ing with a wand in his right hand, and pointing with 
 his left to Jesus , who stands in front, with his hands 
 tied before him. On the ground, in the left corner, 
 stands a man in a cap, with a large plume of feathers, 
 who appears to be haranguing the people, pointing 
 with his left hand towards our Saviour, in the manner 
 of Pilate. In this piece there are many good figures, 
 but it is rather a sketch, or a study, than a finished 
 print. 
 
 There are three impressions. 
 
 The first, which is much superior to the others, and is 
 very scarce, measures 15 by i 7 to’ The effect of the 
 
NEW TESTAMENT. 
 
 55 
 
 bur is very strong, and almost obscures some of the 
 heads. 
 
 The second impression is 14-ny by i 7 rV a balustrade 
 
 is introduced over the window on the right, which, 
 with the window, and figures below it, are lightly 
 shaded; and the shade extends over the right door. 
 
 It is scarce. 
 
 In the third impression, all the figures which appeared be- 
 fore the base of the portico are effaced, and there ap- 
 pears a mask in the middle of it, and a niche on each 
 side. The door in the middle of the edifice, before 
 which Jesus is exposed to the people, is arched, and 
 there are some other little ornaments below the cornice 
 at the top of the door, none of which appear in the 
 other impressions, which are without a name. At the 
 top of a door to the right is written Rembrandt f. 1655. 
 It is extremely rare. 
 
 M. Gersaint remarks, that the last of these impres- 
 sions, though it has the least merit, is yet the most 
 rare, and sells for the most money. But there is great 
 reason to suspect, that the alteration was not the work 
 of Rembrandt , for it has greatly injured the composi- 
 tion of the piece, nor is it easy to conjecture the occa- 
 sion of it ; for that which is substituted in the stead 
 of those parts that were erased, is very ill done. The 
 cause of its rarity is probably the ill effect of the alter- 
 ation, which induced the proprietor to destroy the 
 plate, without printing off the intended impression*. 
 
 Upon this observation of Gersaint , Messrs. Helle and 
 Glomy remark, that this impression is probably taken 
 from another plate antecedent to that which is before 
 
s 6 
 
 new testament. ■ 
 
 described ; because all the figures are differs .ly de- 
 signed, though they are disposed in the same manner ; 
 and that of this plate, there are three impressions. 
 
 In the first the base of the portico is plain ; in the second 
 it has two niches; and in the third, between the two 
 niches, there is a statue, with a large beard ; and it is 
 this statue, of which only the upper part is discovered, 
 that M. Gersaint calls a mask. Upon the whole, it is 
 probable that Rembrandt , not liking the design, effaced 
 it and etched it again, perhaps upon the same plate. 
 i 4to- I 7to 
 80 THE THREE CROSSES. 
 
 This is the companion of Our Lord before Pilate. 
 It represents our Saviour crucified between the two 
 thieves, and like the last, is rather a sketch, than a 
 finished print. 
 
 Our Lord is represented in front on the cross, a lit- 
 tle to the right of the middle of the piece. On each 
 side, at equal distances, are likewise crucified the 
 two thieves, who are seen nearly in profile. To the 
 left of our Saviour’s cross are three horses, two of 
 which are mounted by persons with spears in their 
 hands. The person who had dismounted from the 
 other horse, kneels on the ground with his left knee, 
 looking towards our Saviour with extended arms, and 
 his hands a little raised up. To the left of this group 
 of horses, is another horse, mounted by a man with a 
 spear. At the foot of the cross stands St. John , weep- 
 ing, with his head inclined towards the feet of his mas- 
 ter, near him are the three Afaries on the ground, in 
 
NEW TESTAMENT. 
 
 57 
 
 Uicitudes of grief. In the fore-ground, in the middle 
 of the piece are two old men walking in haste towards 
 the right, and conversing together. There are many 
 spectators, forming various groups throughout the 
 print. The greatest part of it is illuminated by dif- 
 ferent rays proceeding from the top. At the bottom, 
 a little to the left, is written Rembrandt f. 1653. ^ 
 
 is scarce. 
 
 I^to — 17 A 
 
 Of this there are said to be three impressions. The first 
 is before the name and date, and is 'very scarce. 
 
 The second impression is scarce. The name and date are 
 added. It is more wrought upon, particularly on the 
 fore ground, On a sloping bank on the left, and in the 
 middle, bnder the two figures that are walking. The 
 figures likewise on the left side in general are much 
 darker. The impressions from this plate are more 
 frequently on vellum or parchment than on paper. 
 
 That which is called the third, is the most common, but 
 it is certainly from another plate. The three figures 
 on the crosses are much the same, except, that they 
 are more shaded, and that on the right is almost en- 
 veloped in darkness. The composition in general is 
 altered ; the figures, and even the horses, are almost 
 all different, and are in more obscurity and confusion. 
 The horse on the left is rearing on his hinder legs. 
 The right hand person of the two that are walking, 
 remains much the same, but darker ; and the name and 
 date are erased. Of this variation three impressions 
 have been noticed, but the difference only consists in 
 their being more or less dark. 
 
NEW TESTAMENT. 
 
 58 
 
 81 OUR LORD ON THE CROSS BETWEEN THE TWO 
 
 THIEVES, AN OVAL. 
 
 This piece is etched with a fine stroke, and 
 lightly shaded. Our Lord is on the middle cross, 
 seen nearly in profile. The thief on the right is seen 
 in front, and the other from behind, and the reed (at 
 the end of which is a spunge) rests against that cross. 
 The Manes are at the foot of the cross lying on the 
 ground in great grief. To the right the fore-part of 
 a horse appears and there are many spectators. 
 
 5*o 3 vs 
 
 82 THE LITTLE CRUCIFIXION. 
 
 The cross on which is our Saviour, stands on the 
 left nearly in profile. The mother of our Lord is on 
 the ground to the right in a fine attitude, supported by 
 one of the Afaries , and the other is seated at the foot 
 of the cross in great grief. In the front stands a man 
 richly habited, in a turban, and seen from behind, and 
 probably designed for Joseph of Arimathea. In the 
 back-ground some public buildings appear. This 
 piece is well designed and executed with a fine point. 
 At the top is written Rembrandt f. 
 
 0 - 2 --. . 2 ~~ 
 
 310 z I o 
 
 83. THE ECCE HOMO. 
 
 This piece is the companion of the descent from 
 the cross, N°. 84, which is nearly the same size. 
 The disposition of this piece was an arduous task, as it 
 consists of an incredible number of figures. Pilate 
 is standing under a canopy to the right ; his left arm 
 is extended, and he appears to be speaking to the crowd 
 
NEW TESTAMENT. 59 
 
 of Jews that are before him ; one of whom is kneel- 
 ing with the reed in his left hand. Our Lord is seen 
 in front standing, surrounded by the guards, and ex- 
 posed to gratify the malice of the populace. His eyes 
 are raised to heaven, his arms hang down, and his hands 
 are manacled and joined together before him ; on his 
 head is the crown of thorns. His body is naked 
 except a slight covering thrown over the shoulders and 
 tied over the breast, and a cloth tied round his waist. 
 At the foot of the judgment seat appears a Jew, who 
 stretches out his right hand towards the crowd that fills 
 the lower part of the print, and seems desirous of 
 appeasing the fury of the people ; promising them 
 that their demands shall be satisfied. The back ground 
 is rich in architecture. This piece is very scarce, and 
 is highly esteemed ; there are many fine heads in it, 
 and it is extremely well executed, producing a great 
 effect. It measures including a margin of A in 
 which is written Rembrandt ft. 1636. 
 
 2 1 to — ijro 
 
 There are three impressions of it, besides an impression 
 which may be regarded as an extremely great rarity , if 
 not unique. In it the figures of Pilate and the princi- 
 pal persons are only traced ; the rest is less wrought 
 upon than in the other impressions, and the canopy is 
 larger; as may be perceived by the other impressions, 
 wherein it is evident that the canopy has been shor- 
 tened. 
 
 The first impression is extremely rare ; in it the right cheek 
 of the head above that of the man holding the reed is 
 
6o 
 
 NEW TESTAMENT- 
 
 only etched with a single stroke, but in the finished 
 impression it is crossed with diagonal lines to give it 
 more shade. 
 
 The second impression is darker in several parts than the 
 third, particularly in the drapery of the person pre- 
 senting the reed, the shade being very black, but it is 
 lightened in the third impression, as well as some other 
 parts. In some of the finished impressions there is af- 
 ter the date inserted — CUM PRIFILEG — in large 
 letters scarcely to be made out. In the margin are 
 several trials of the tool. 
 
 There is a copy of this piece by Savry ; the figures are in 
 the same direction as in the original. 
 
 84 THE DESCENT FROM THE CROSS. 
 
 T, he companion of the Ecce Homo. The subject 
 is illuminated by the rays of light that fall from the 
 sky directly upon the group, which is busied in taking 
 down the body of Jesus Christ from the cross. In 
 the upper part of the print a man stands upon a lad- 
 der, leaning over the transverse beam of the cross, and 
 holding with his right hand a corner of the sheet in 
 which the body is to be wrapped. There' are two 
 othei ladders reared against the cross, with a man on 
 each ; one of whom is supporting our Saviour by his 
 left arm, and the other by his right. Two men 
 stand below and sustain the body which they re- 
 ceive in the sheet, the effect of their hands un- 
 der which, is well expressed. On the left stands 
 Joseph of Arimathea seen in profile richly habit- 
 ed ; the two ends of his turban hang down be- 
 
NEW TESTAMENT. 6l 
 
 hind, and his garment is embroidered and turned up 
 with fur ; his hand is supported on a walking stick. 
 In the right corner is St. John with the virgin and 
 ■Mary Magdalen , spreading a rich fringed carpet on 
 the ground, to receive the body. Beyond them are 
 several spectators who appear to be suitably affected by 
 this mournful event. The city of Jerusalem occupies 
 the back-ground. In the margin, a little to the left, 
 is written Rembrandt J. cum pryvl°. 1633. This 
 print is extremely well executed ; the composition is 
 grand, the heads full of character, and the effect, in a 
 good impression, very fine. 
 
 20 A — 16 A 
 
 Of this print there is an impression which may be regard- 
 ed as unique. It is but a first etching, without the 
 smallest effect. 
 
 Besides which, there are two other impressions. 
 
 In the first, which is extremely rare , the leg of one of the 
 men, who stands below to receive the body of our Sa- 
 viour, is etched with the single stroke only. 
 
 In the second, the leg is finished with cross hatchings. 
 In the margin is written Rembrandt f. cum pryvlo. 1633. 
 This impression has a wonderful effect, and is aene- 
 rally regarded as th z first. After the name and da"e, in 
 some impressions, is written Amstelodami Hendrickus 
 nienburgensis excudebat, and in others, Amstelodami 
 Justus Danders excudebat , but these are very inferior, 
 particularly in the figures in the right corner which 
 lose much of their richness and finishing. 
 
 There is a reversed copy of this print. 
 
6 a 
 
 new testament. 
 
 85 THE DESCENT FROM THE CROSS, A SKETCH. 
 
 This piece is executed with little more than an out- 
 line. The body of Jesus is seen nearly in front in 
 the middle of the print ; his left arm is already freed 
 from the cross, and hangs loose by his side ; and on 
 the other side, a man is standing upon a step-ladder 
 with a pair of pincers, drawing the nail by which his 
 right hand is fastened. In the left corner the virgin is 
 fainting and supported by one of the Maries. Before 
 her on the ground lie a scull and bones ; and towards 
 the right corner the crown of thorns. To the left, 
 near the cross, stands the other Mary, with her hair 
 dishevelled, weeping ; on the other side, St. John holds 
 up the sheet to receive the body of our Lord. There 
 are several spectators. At the bottom, towards the 
 right, is written Rembrandt f. 1642. 
 
 5t o — 4 to 
 
 Of this there are two impressions. In \ht first impression, 
 the group in the left corner is less shaded than in the 
 
 second. 
 
 86 THE DESCENT FROM THE CROSS, A NIGHT PIECE. 
 
 The scene is represented by torch-light, on the 
 summit of a mount on the left. A man standing 
 close to the cross holds a torch which illuminates the 
 subject. Others are just receiving the body from the 
 cross. At the foot of the mount is a bier with a sheet 
 lying on it, which a woman is spreading open in order 
 to receive and bear off the body. To the right appears 
 Joseph of Arimathea, seen in part only, in profile, and 
 
NEW TESTAMENT. 63 
 
 in the back ground the city is perceived. On the 
 sheet is written Rembrandt f. 1655. 
 
 8A- — 6 T % 
 
 Of this there are tnuo impressions. The second impression 
 is darker and more finished than the first. 
 
 87 JESUS CHRIST ENTOMBED. 
 
 This is a companion to the preceding. In the 
 lower part of the print to the right, the disciples are 
 entombing the body of Jesus Christ. To the left are 
 the three Maries weeping, and above them stands a 
 Jew , probably Joseph of Arimathca, leaning on his 
 stick, and two persons behind him. The back- 
 ground consists of an arched vault ; in front of it is 
 some stone-work, on which are placed two sculls, and 
 behind them appears the upper part of an arch, and a 
 large arch which reaches to the top of the print. 
 
 8r-o — 6 t V 
 
 This print is scarce , and is remarkable for the number of 
 variations, there being reckoned six different impres- 
 sions. 
 
 In the first impression, which is very scarce , every part is 
 readily distinguished, as it has been already described ; 
 a great part of it is only etched with the single stroke, 
 and it does not produce much effect. 
 
 The second impression is more finished, and much darker. 
 The figures are illuminated by reflection from a torch, 
 supposed to be held over the body of Jesus , but unseen ; 
 being intercepted by one of the disciples, who is seen 
 from behind. The light falls upon our Saviour, three 
 
6 4 
 
 NEW TESTAMENT. 
 
 of his disciples, the virgin, and Joseph of Armathea . 
 The rest of the subject is with difficulty made out. 
 
 The third impression is still darker, except the arch be- 
 hind the sculls, which is lighter than the back-ground 
 in general, but the sculls are darker than in the pre- 
 ceding impressions. 
 
 Th t fourth impression is very dark. Neither the vault, 
 the arch, nor the stone-work are to be seen ; and the 
 figures are scarcely distinguishable. 
 
 P. Tver meiftions six impressions. In the collections of 
 De Burgy and Marcus , there were only four ; which 
 probably were all that ought to be accounted different ; 
 the rest being entirely owing to the wearing of the 
 plate, which was altered by Rembrandt ; probably to 
 find out the best effect of the chiaro-scuro. 
 
 88 THE FUNERAL OF JESUS. 
 
 On the right side of the print, the body of our Savi- 
 our is carried on a bier by four persons, towards a 
 cavern which is perceived on the left. Several persons 
 attend the funeral, among whom the virgin Mary 
 is seen weeping. The cavern is at the foot of a rock 
 or mountain, on a distant part of which to the right 
 are seen several persons. This piece is lightly etched, 
 and the composition is good. At the bottom is writ- 
 ten in large letters Rembrant , the d being omitted. 
 
 TS 4 t o 
 
 89 THE VIRGIN MOURNING THE DEATH OF JESUS. 
 
 The figure of the virgin is a half-length, turned 
 to the right and placed before a piece of stone- work, 
 
NEW TESTAMENT. 
 
 ■6-5 
 
 •on which lie the crown of thorns and the nails. She 
 seems to muse over these memorials of our Lord s 
 passion, with a fixed attention, and silent sorrow. 
 This piece is extremely rare.* 
 
 4to — 3t 5 o 
 
 There are /wo impressions of it. In the first there is some 
 coarse shadowing below the arms and under the chin, 
 which in the second-best impression is scraped away 
 and softened. 
 
 9O OUR LORD . AND THE DISCIPLES AT JLMMAUS. 
 
 This piece is etched in a harsh manner with a coarse 
 tool. Our Lord is sitting behind a table under a large 
 canopy, and seen in front ; he holds a piece of bread 
 in each hand, in the action of blessing it, by which 
 he is known to his disciples. A large glory sur- 
 rounds his head. On the table is a dish with a joint 
 of meat upon it, and close by it stands a goblet half 
 filled with wine. The disciple on the left is risen 
 from his seat, and stands with his hands lifted up and 
 joined together. The other is sitting on the right 
 with his arms half extended, in an attitude of asto* 
 nishment. In front on the same side is a cook going 
 down some steps, with his left hand upon the rail ; and 
 behind him is a dog. At the bottom to the left is 
 written Rembrandt f. 1 634. 
 
 8tV-6A 
 
 Of this there are /wo impressions. In the first, which is 
 •very scarce, the rays round the head of Je$us are not 
 easily distinguished ; and the hat hanging on the chair 
 
 E 
 
66 
 
 NEW TESTAMENT. 
 
 behind the disciple on the right, is so imperfect, that 
 the shape of it is scarcely to be made out ; and upon 
 the whole the piece is defective, wherein it differs from 
 the finished plate or second impression. 
 
 91 OUR LORD AND THE DISCIPLES AT EMMAUS, THE 
 
 LITTLE PRINT. 
 
 This is a beautiful print, the composition is fine, 
 it is well executed, and the chiaro-scuro produces a 
 great effect. Our Lord is represented sitting to the 
 right breaking bread, and a dog is standing by his side ; 
 a luminous glory encircles his head. Rembrandt has 
 chosen the same moment of time in this as in the last, 
 viz. that wherein he is known to his disciples by the 
 breaking of bread. One of the disciples is sitting op- 
 posite to Jesus in an elbow chair ; his hands are raised 
 and joined together. The other seen in front on the 
 right hand of his master, holds a shoulder of mutton 
 by the knuckle in his left hand, which he is about to 
 cut with his right, till stopped by this solemn act of 
 our Saviour’s, on whom he gazes with a mixture of 
 wonder and awe. In the left corner on the floor, lies 
 a knapsack, with a staff under the strap of it. In the 
 middle of the margin at the bottom is written Rem- 
 brandt f. 1634. 
 
 4— 2 T 9 o 
 
 92 THE DECOLLATION OF SAINT JOHN THE BAPTIST. 
 
 Of this piece there is no good impression ; it is 
 lightly etched, and in some parts the aqua fortis has 
 failed. St. John is kneeling in the middle of the print, 
 
NEW TESTAMENT. 
 
 67 
 
 turned to the right, and is naked, except the camel’s 
 hair garment, which is wrapped round his waist ; his 
 hands are joined together. By his side on the ground 
 lies a little cross, with a streamer waving round it, 
 the usual characteristic of the Baptist. The execu- 
 tioner stands on the left, his arms are raised to give 
 the fatal stroke. In the back-ground appear a multi- 
 tude of spectators coming through an arched gate- way, 
 and in the front of them stand Herod and Mariamne , 
 with a Moor , who holds a charger to receive the 
 head. To the right is a building adorned with 
 columns, between which two persons are looking at 
 the execution. At the bottom to the left is written 
 Rembrandt f. 1640. 
 
 5 — 4ro 
 
 93 THE DECOLLATION OF SAINT JOHN, DOUBTFUL. 
 
 The artist, in this piece, has caught the moment 
 in which the executioner is sheathing the sword, im- 
 mediately after the blow has been given. In the back 
 part of the print to the left, is an opening, through 
 which appear three figures. At the bottom to the 
 left is written R. I. This piece is very scarce. 
 
 6A — 5 
 
 There are four impressions of it. 
 
 The first , which is the scarcest , is much less finished than the 
 other ; particularly in the drapery of the executioner, 
 and the distant part of the cave or prison, where there 
 is no work. On the left side over a dish are two steps. 
 
 The second is particularly distinguished in having the scarf 
 on the shoulder of the executioner, less worked upon. 
 
1 
 
 68 NEW TESTAMENT- 
 
 Inthe third, the Work encroaches more upon the lights, 
 and the steps are taken out. 
 
 Inthe fourth , the scarf is entirely covered with work. 
 
 By some this print is attributed to Livens from a design of 
 
 Rembrandt's. 
 
 94 ST. PETER AND ST. JOHN AT THE BEAUTIFUL 
 GATE OF THE TEMPLE. 
 
 In this piece is a rich disposition of architecture, 
 which fills the left part of the print, and is seen 
 through an arch supported on a column. To the 
 right in the distance, appears a kind of amphitheatre, 
 with immense crowds of people surrounding a flight 
 of steps leading to an altar in the middle of the 
 print, on which a sacrifice is burning ; and the high 
 priest is seen under a canopy with attendants. At the 
 gate of the temple, which is on the left side, stand 
 two Jews ; and on the same side in front is a cripple 
 sitting on a step ; he is seen from behind ; and hold- 
 ing a hat in his left hand, appears to ask alms of St. 
 Peter , who is standing before him wrapped in a cloak 
 or mantle, having both his arms extended. St. John 
 appears at his side in a similar habit, witli his stock- 
 ings fallen down to his ankles. This piece is in great 
 esteem, and ranked among the best of Rembrandt’s 
 performances. The countenances of the two Jews 
 at the gate are admirable, and full of expression ; and 
 the whole has a fine effect. Upon the steps on which 
 the lame man is sitting, is written Rembrandt f. 1659. 
 
 SJL 
 
 / IO w I O 
 
 Of this there are three impressions. In the frst 3 which is 
 
NEW TESTAMENT. 
 
 69 
 
 •very scarce ,. the cloak of St. Peter has f^wer folds, and 
 has rather a stiff appearance; his legs are more heavy 
 and ill shaped. 
 
 In. the second, which is scarce , , and has the best effect, the 
 faces are much better characterized, executed with 
 more spirit, and animated with stronger expression. 
 St. Peter's cloak is better expressed in the plaits or 
 folds, and his legs better designed. 
 
 The third impression, which is most common, differs from 
 the second in having the whole of the ground to the 
 right dark, whilst in tlae others, only half of it is in 
 shade. 
 
 Mi Houbraken was possessed of a piece 8^ by 6-^ wide, 
 which was purchased by Pond , in which the subject is 
 differently treated; there is one other impression in 
 Bering/ien's collection made for the King of France, and 
 pyqbabjy not a third to be found. 
 
 In this piece, which is lightly etched, the lame man is 
 sitting on the ground to the right, with two crutches 
 lyiqg by him. St. Peter is standing with his arms ex- 
 tended. St. John is standing by his side in an attitude 
 rather inclining. Upon the right is a gate, which re- 
 sembles that of a prison rather than a temple. On 
 the left appears a piece of architecture, at the bottom 
 of which is a door through which are seen two Jews 
 in cloaks and caps. The stile of the head of St. Peter 
 is very fine, and it is much to be regretted, that Rem- 
 brandt had not patience to finish the piece with more 
 care. He destroyed the plate himself, preserving 
 «nly the head of St. Peter , which he finished a little 
 
7 o 
 
 NEW TESTAMENT. 
 
 more. It is a bust looking downwards. It measures 
 2 by i T V 
 
 95 THE BAPTISM OF THE EUNUCH. 
 
 This piece is executed in a very good taste, nearly 
 with a single stroke. The Eunuch is about the 
 middle of the print kneeling, and turned to the right, 
 with a Moorish page standing behind him holding his 
 mantle and cap. St. Philip , who has a venerable 
 characteristic appearance, is seen in front, administer- 
 ing baptism to him. To the left is a man on horse- 
 back who holds a pike, resting it on his left shoulder \ 
 he likewise carries a bow with a quiver of arrows, and 
 has a sword hanging by his side. In the distance ap- 
 pears the chariot of the Eunuch with an umbrella 
 fixed over it. In the back-ground to the right are 
 several trees, and above them is seen a hill, with 
 buildings on it. At the bottom in the right corner is 
 written Rembrandt f. 1641. 
 
 « • 8 -^- 
 
 / IO U I O 
 
 *96 THE ANGEL DELIVERING SAINT PETER OUT OF 
 PRISON. 
 
 St. Peter is represented departing from the prison, 
 the door of which is arched ; the angel conducts 
 him by the left hand, pointing with the right the road 
 which he is to take. The back-ground is dark ; the 
 light comes in from the right. This print is coarsely 
 etched, and is by some thought not to be the produc- 
 tion of Rembrandt. It is however extremely rare. 
 
 4to' 3P0 
 
NEW TESTAMENT. 
 
 7 * 
 
 THE DEATH OF THE VIRGIN. 
 
 The disposition of this subject is grand ; it is exe- 
 cuted in a masterly manner and produces a fine effect. 
 The virgin appears to be expiring in a bed, the cur- 
 tains of which being drawn up, discover the posts rich- 
 ly ornamented. Near it are many persons, several 
 of them weeping. A physician feels her pulse with 
 great attention, while Joseph raises up the pillow on 
 which rests her head, and holds a handkerchief to her 
 nose. To the left sits a Jewish Rabbi at a table, seen 
 from behind, reading in a large book. Above the 
 table, near the head of the bed, stands the high 
 priest ; his arms hang down, and his hands are clasped 
 together before him ; he looks with a fixed and mourn- 
 ful attention on the virgin. At the side of the 
 high priest is a boy holding a great crosier. At 
 the foot of the bed stands a tall woman, with her 
 hands raised and clasped together, and behind her 
 St. John , with arms extended ; both of them ap- 
 pear to be in great affliction. To the right is a 
 large curtain, which a person from behind opens 
 with his right hand ; he has a turban on his head, 
 and his face has some resemblance of Rembrandt's . 
 In the right corner is an elbow chair. Above the 
 bed, surrounded with a luminous glory, is seen an 
 angel, with several cherubs, the faces of which are all ill 
 expressed. To the left at the bottom is written Rem- 
 brandt f. 1639. 
 
 16 — 12A 
 
 There are two impressions of this piece. In the first , 
 
NEW TESTAMENT. 
 
 which is very scarce, the elbow chair which stands in 
 the right corner is only shaded with the single stroke; 
 and in the margin at the bottom, are many little 
 strokes which were made by trying different points, 
 and Were in the second impression effaced, and the 
 margin made plain. 
 
 98 THE MARTYRDOM OF SAINT STEPHEN. 
 
 This piece is very carefully executed, and has a 
 fine effect. The principal part of the subject is dis- 
 posed to the left. St. Stephen is represented kneeling 
 ill the middle of the print, with a ray of glory falling 
 On his head ; he is habited in a tunic, and one of his 
 feet is bare, the slipper having fallen off. Over his 
 head is seen a Jew who lifts a large stone with both 
 hands, which he aims at the saint ; another pulls 
 him with his right hand by the tunic, and in the 
 other holds a stone, with which he is about to strike 
 him on the head. Near him another Jew is taking 
 tip a stone for the like purpose. In the distant: pros- 
 pect to the right, are discovered buildings in ruins. In 
 the left corner, in a small space left for the purpose, 
 is written Rembrandt f. 1635. 
 
 3 to 3to 
 
If. PIOUS SUBJECTS'. 
 
 99 Saint jerome, unique. 
 
 This piece was in M. Houbraken' s collection., and 
 may be regarded as unique. It represents St. Jerome 
 kneeling, and contemplating a scull that lies before 
 him. The head of the saint and almost all the upper 
 part of the subject is only an outline. 
 
 1 1 3 r3 
 
 10 0 SAINT JEROME SITTING AT THE FOOT OF A TREE. 
 
 This beautiful little print is extremely well etched, 
 highly finished, and has a fine effect. St. Jerome is 
 placed high up in the middle of the print, sitting on 
 a bank at the foot of a large tree. Beneath him the 
 lion is crossing from left to right ; and in the right 
 corner lies a scull. St. Jerome is reading in a large 
 book, which he rests on his knees. With difficulty 
 may be perceived at the bottom to the left, Rembrandt 
 f. and opposite on the right, 1654. It is scarce. 
 
 4 Tf * 3 ^ 
 
 Of this there is an exact copy reversed ; and on the right, 
 under the lion, is written Rembrandt. 
 
74 
 
 PIOUS SUBJECTS. 
 
 101 SAINT JEROME KNEELING, ARCHER. 
 
 This print is arched at top, and lightly etched with 
 a fine point. The saint is kneeling in the middle, 
 turned to the left ; his hands are raised and joined 
 together, and he looks upwards in the attitude of 
 praying ; before him a book lies open. The back- 
 ground is a rocky scene, to the right of which is 
 seen the fore part of a lion. At the bottom to the 
 right is written Rembrandt f 1632. 
 
 4 To St - ® 
 
 102 SAINT JEROME SITTING BEFORE THE TRUNK OF 
 
 AN OLD TREE. 
 
 This piece is designed in a very fine taste, but the 
 back-ground is only very slightly sketched. In the 
 middle of the print appears the trunk of a large old 
 tree, which divides into two as it rises towards the 
 top, and throws out a branch towards the right ; 
 below it sits Saint Jerome, with his hat lying on the 
 ground by his side. His head is remarkably fine ; he 
 has spectacles on, and is writing in a book placed on a 
 board, on which likewise lies a scull. On the other 
 side of the tree appears the head of the lion, the cha- 
 racteristic of this saint. In a scroll below the trunk 
 of the tree is written Rembrandt f. 1648. 
 
 7 — 5tV 
 
 There is a prior impression which is very scarce , and taken 
 before the scroll and name were inserted. 
 
 I 03 SAINT JEROME KNEELING. 
 
 The saint is here represented kneeling with his 
 hands joined together, and turning toward the right \ 
 
PIOUS SUBJECTS. 75 
 
 the lion stands on the other side of him in the same 
 direction, occupying the breadth of the print. On 
 the left, opposite to his shoulder, lies a book shut, and 
 on it stands a jug ; above which the back-ground is a 
 little touched with the single stroke, the rest of it 
 being white. Towards the top on the right, is to be 
 read with much difficulty Rembrandt f. 1635. 
 
 4to 3 Vo- 
 
 104 SAINT JEROME, UNFINISHED. 
 
 It is much to be regretted, that the whole of this 
 piece was not finished. The disposition of the subject 
 is rich, and that part which is finished is done in a 
 good stile. The composition is much in the manner 
 of Albert Durer. St. Jerome is sitting on a bank or 
 rock to the left, at the foot of a large tree, the higher 
 part of what is seen of it being unfinished ; on the 
 trunk a bird is perched. There is a clump of trees 
 immediately behind it in shade. The figure of St. 
 Jerome is only traced with the outline, except the hat 
 and upper part of the face, which are nearly finished. 
 The bank on which he sits, which takes up almost 
 the fore-ground of the print, is likewise only traced. 
 He rests upon his left elbow, and holds a book in both 
 hands, in which he is reading. On the bank behind 
 him stands a lion in a spirited attitude seen from be- 
 hind ; his hinder part is only etched with the single 
 stroke. In the distance to the right is a country house 
 and a church, with clumps of trees on each side of 
 them, which are all well finished. Beneath the 
 church is a fall of water, which tumbles, down, 
 
76 
 
 PIOUS SUBJECTS. 
 
 amongst the rocks to the right corner of the print. 
 Over the water-fall is a wooden bridge, with two 
 figures at the end of it. This piece is scarce. 
 
 i o T % 8-Z-g 
 
 In the first impressions of this print, which are very scarce, 
 there is much of the bur, particularly in, the head of 
 the lion and some foliage to the left of it, as likewise 
 in the two persons passing over the bridge. 
 
 *105 SAINT JEROME. 
 
 This is the same print as that described N°. 104. 
 fyl. Helle and Glomy have erroneously introduced a 
 short description of it under this number. 
 
 106 SAINT JEROME, IN REMBRANDT’S DARK MAN- 
 NER. 
 
 This piece represents St. Jerome , with an open 
 book before him, sitting in a room at a table, on 
 which he rests his left elbow, whilst the hand 
 supports his head. Upon the table stands a cru- 
 cifix, with a scull at the foot of it. The lion is 
 lying under the table, and is not easily discovered. 
 To the left is a winding stair-case, and in front 
 opposite to it, the top of a stair-case, which leads to a 
 room below that in which he is sitting. The light 
 proceeds from a window which is placed high up be- 
 fore him, and the chiaro-scuro has a striking effect in 
 a fine impression. In the margin at the bottom is 
 written Rembrandt f. 1642. 
 
 6JL 
 
 JlO '“'JO 
 
 Of this there are tvuo impressions. In the first , which is 
 very scarce , that part of the casement which is to the 
 
PIOUS SUBJECTS. 77 
 
 right, is less seen, being half concealed behind a cur- 
 tain, which falls down almost in a right line. 
 
 In the second impression, which is more common , more of the 
 window is seen ; the curtain being drawn back at the 
 bottom. The effect of this impression is not equal to 
 that of the former. The plate fell into the hands of a 
 printseller Amsterdam, who caused it to beretouched, 
 and these impressions are still worse than the second. 
 
 I07 SAINT FRANCIS PRAYING. 
 
 St. Francis is represented upon his knees praying, 
 turned to the left ; his hands are joined together and 
 placed on a book, which lies open before him upon a 
 rock at the foot of a large tree. Before him is a cruci- 
 fix standing near the back-ground, which appears rocky, 
 interspersed with foliage. To the right another Re- 
 ligious is discovered, (being only sketched) who is also 
 kneeling with a book in his hands. This figure, 
 which is seen behind and directed towards the right, is 
 placed under a thatched hovel. His right arm comes 
 from under it, and is supported on one of the rafters. 
 On an eminence on the same side stands a chapel. 
 Of this piece it ought to be remarked, that the scenery 
 throughout is extremely well adapted to the subject. 
 In a small white space which is inclosed with a single 
 line, within the print, at the right corner below, is 
 written in large broad characters, Rembrandt f. 1657. 
 The same is likewise written so as to come in con- 
 tact with the other, in small light characters. This 
 piece is scarce. 
 
 
7 8 
 
 PIOUS SUBJECTS. 
 
 M. Houbraken was in possession of an impression which 
 may be considered as presque unique. In it the back- 
 ground, both before and behind Saint Francis , is white 
 or unengraved. 
 
 108 THE HOUR OF DEATH. 
 
 This is an allegorical subject. To the left appears 
 the upper part of a skeleton, by which death is repre- 
 sented, holding an hour-glass. On the same side 
 under a tent, sits an old man leaning with his left 
 hand on a stone table, and stretching out his right 
 hand, shews the skeleton to a woman who is standing 
 before him richly habited, with a hat and feather on 
 her head. The scene is in a garden ; in the back- 
 ground are seen some rich buildings in perspective. 
 Below the table on the ground is a large book open, 
 with a spade and rake near it ; and in a corner below 
 the skeleton is a shield with the following Latin ver- 
 ses, written in four lines upon it. 
 
 2>ui speculum hoc cernis , cur non mart alia spernis , 
 
 Tali namque domo conditur omnis homo. 
 
 This piece is very scarce. 
 
 5to — 3tI- 
 
 There is an impression which is extremely rare , if not 
 unique , where instead of the shield and Latin verses, 
 there is a stone coffin. This impression was in the 
 collection of M. V an Leyden. 
 
 There is likewise another very scarce impression, wherein 
 the top of the tent is without the cross etchings. 
 
 In another impression the corner of the shield is touched 
 with etchings instead of being left white. 
 
PIOUS SUBJECTS. 
 
 79 
 
 In an old copy which is in the same direction as the ori- 
 ginal, the verses are omitted, and Rt. is put instead of 
 them ; and in a copy by Hertel , which is reversed, J. 
 G. H. Sculp, is marked on the shield. 
 
 109 YOUTH SURPRISED BY DEATH. 
 
 This piece is etched with a very light point. It 
 represents a young man seen in profile to the left; 
 with a young woman seen from behind, gayly dressed 
 in a hat and feather. They are contemplating a mo- 
 nument, from beneath which, death rises with his 
 scythe and hour-glass. In the margin to the left is 
 written Rembrandt f. 1639. This print is scarce. 
 
 4to 3to 
 
 110 A MAN MEDITATING. 
 
 This piece is extremely well executed in Rembrandt's 
 dark manner, and the effect of the chiaro-scuro in the 
 first impressions is very fine ; but in general it is lost 
 in the subsequent ones. A man is represented sitting 
 at a table, upon which lies a book open, and over it a 
 lamp is fastened to the wall, which throws a faint 
 light upon the subject. He is seen nearly in front, 
 and has on such a cap, as is common in Rembrandt'' s 
 portraits ; his left elbow rests upon the table, and his 
 left hand is raised to his forehead in an attitude of 
 study ; his right hand rests on the arm of his chair. 
 On the right side is a curtain. 
 
 Sts- — 5tV 
 
 Of this print there are three impressions. 
 
 In the first , which is very scarce , the effect of the chiart - 
 
PIOUS SUBJECTS. 
 
 scttro is very fine, ' the lamp is bright, and all the parts 
 are readily made out, yet agreeably kept under. 
 
 Tn the second the rays of the lamp are more diffused. 
 
 In the third the lamp is but feeble, and the dark parts of 
 the subject are not clearly to be discriminated ; the 
 curtain is likewise more worked upon. 
 
V. FANCY PIECES. 
 
 til An ALLEGORICAL PIECE. 
 
 This print is extremely rare. In Holland it is called 
 the Phoenix ; Ger saint calls it an allegorical piece , and 
 says, that the subject is not easily to be guessed. It 
 seems however to represent the demolition of the statue 
 of the duke of Alva at Antwerp. About the year 1 568, 
 the duke , having driven the prince of Orange out of the 
 Low Countries , and being complimented by Pius the 
 Fifth as the champion of the catholick religion, di- 
 rected the cannon, taken from the prince, to be melted, 
 and a statue of himself to be made of the metal, and 
 set up in the citadel of Antwerp. He was represented 
 trampling upon the states of the Low Countries , the 
 nobility and people, under the figure of a double- 
 headed Hydra ; which so enraged the populace, that 
 on the expulsion of the Spaniards in the year 1577, 
 they overturned it into the court, and converted it 
 to its former purpose, by casting it again into cannon. 
 On the pedestal was a fulsome eulogium on himself. 
 
 At the foot of a large pedestal lies a colossal figure 
 
 F 
 
82 
 
 FANCY PIECES. 
 
 of a man, admirably foreshortened, his head lying at 
 the bottom of the print, and his feet elevated above 
 the body, so as to reach the bottom of the tablet on 
 the pedestal. At each corner of the pedestal is a 
 mask ; on the upper part of it is a shield armorial, 
 with a ducal coronet. Above this is distinctly seen 
 the hinder part of the Hydra , the fore part of which 
 is broken down. Upon it are extended two bunches 
 of corn, in the blade, fastened together round the 
 stalks. Two Genii appear in the air with their wings 
 extended, blowing trumpets, which each of them 
 holds in one hand, and with the other takes hold of 
 the corn, near the blade. On the stalks stands a Stork 
 with expanded wings, which fills up the lower part 
 of a luminous glory, from which the rays are diffused 
 over the subject ; particularly falling upon the heads 
 of the populace, who are discovered at the bottom of 
 the print, and seen no lower than the breast ; one on 
 the right side, and three on the left ; one of whom holds 
 up a child. Above them, two houses are seen in per- 
 spective, and on the right, the trees which grow on 
 the rampart. The Stork is considered as an emblem 
 of democracy, and is held in great veneration in 
 Holland. It is also the armorial bearing of the Hague , 
 and may, in the point in question allude to the prince 
 of Orange^ the deliverer of his country from the 
 Spanish yoke. This print has probably been intended 
 for some historical work, wherein that event is re- 
 corded, but was not made use of, as sometimes happens, 
 when the artist or the author are not pleased with the 
 
FANCY PIECES. 
 
 83 
 
 design or the execution of a print. At the bottom, to- 
 wards the right corner, is written Rembrandt f. 1648, 
 but owing to a broad stroke crossing the name, its or- 
 thography is not easily to be made out. 
 
 7t , o- — 7 A? 
 
 112 THE STAR OF THE KINGS. 
 
 It is a custom among the populace in Holland , on 
 the feast of the three kings, for select parties to parade 
 the streets, carrying a great lantern in the form of a 
 star, fixed at the end of a pole. They are dressed in 
 a ridiculous imitation of royalty, attended with suita- 
 ble music, and go from house to house to obtain mo- 
 ney from the burghers. 
 
 This print is a night-piece. Towards the right the 
 star is carried by a boy. Six or seven other persons 
 are discovered, one of whom is in a high cap. On 
 the left, several lights are perceived in the houses. 
 The print, upon the whole, does not produce much 
 effect. 
 
 3ro ~ 5^ 
 
 Of this there are two impressions. 
 
 In the second there is some variation in the effects of the 
 
 light. 
 
 H 3 FOUR HUNTING PIECES. 
 
 These pieces are etched with uncommon spirit, 
 and now become scarce ; particularly the first. 
 Near the middle, inclining to the right, is a horse 
 fallen down with his rider under him. Higher up 
 appears another horse curveting, on which sits a 
 Turk, who is throwing a javelin at a lion, which is 
 
8 4 
 
 FANCY PIECES. 
 
 running towards the left, and is attacked by three 
 other horsemen ; one of them with a sword, the other 
 two witli bows and arrows. In front of this lion, is 
 another lying on his back, wounded with an arrow. 
 To the right are four other horsemen armed, and be- 
 hind them appear some trees slightly sketched. 
 
 BA — 1 1 A 
 
 In the second, a horse to the left is represent- 
 ed curveting ; on it sits a 'Turk, who is throwing a 
 javelin at a lion. Higher up another Turk is mount- 
 ed, and shooting an arrow at the lion. A little be- 
 yond the lion is a tigress devouring a man, whom she 
 has pulled from his horse. The back-ground is a 
 wood slightly sketched, and in the distance to the 
 right, are discovered several horsemen. 
 
 A * .8 
 
 ® i o 4 to- 
 
 In the third, a lion is represented attacking a 
 man, who is fallen down with his horse; he is de- 
 fending himself with a javelin, while a Turk , mounted 
 on another horse, comes to his assistance, and makes a 
 stroke at the lion with his sword. 
 
 6 A — 3 A 
 
 The fourth, is rather a battle than a chace, 
 and represents a group of horsemen advancing in 
 full speed from the right, with swords and javelins. 
 
 4to- ' 3 r ^- 
 
 There is some difference in the impressions of the three firsts 
 but so trivial as not to be worthy of particular remark. 
 
 In the fourth there is a prior impression extremely rare t 
 if not unique. It is less finished, the back-ground is 
 
FANCY PIECES. 85 
 
 spotty, and the effect is not so good as in the second 
 impression. 
 
 114 THREE ORIENTAL FIGURES. 
 
 To the left appears a house built in the Flemish man- 
 ner, with a porch or cove over the door, the lower 
 part of which is shut ; and a man, in a large cap and 
 cloak, is leaning over it. Before the door stand three 
 figures, two men and a woman, in Oriental habits, 
 and a dog attending them. At the tqp to the right is 
 written Rembrandt f. 1641, the whole reversed. 
 This piece is etched with much spirit, 
 
 5~ro “ 4 to- 
 
 115 THE BLIND BAGPIPER. 
 
 A blind boy, with a dog in a leash, stands near the 
 middle of the print playing upon the bagpipes, in front 
 of a cottage which is in the right, with a door- 
 hatch, over which, are seen leaning a peasant and his 
 wife ; she holds up a little child, who seems to be 
 much diverted with the music. Behind the bagpiper 
 
 stands an old man in a high cap. 
 
 „ 6 .6 
 S 1 o 4 1 o 
 
 116 THE SPANISH GIPSY. 
 
 This piece is executed in Rembrandt's best manner, 
 masterly, yet not elaborately finished. The subject 
 is taken from a Spanish story, which has been wrought 
 into a Dutch tragedy. A scene in each act was illus- 
 trated by a print, but only this was done by Rembrandt. 
 
 A gipsy having found means to steal away a Spanish ' 
 princess in her infancy, made a constant companion of 
 her whenever she went abroad, but paid particular 
 
86 
 
 FANCY PIECES. 
 
 attention to her education, concealing however from 
 her the dignity of her birth. It happened as they 
 were passing through a wood, the young lady was 
 seen by a prince who was hunting; who being stricken 
 with her beauty, became passionately in love with 
 her ; and having by some circumstance discovered the 
 secret of her birth, made her his wife. 
 
 In the print, an old woman habited like a gipsy, is 
 represented passing through a wood, with the princess 
 by her side ; the old woman has a walking stick in 
 her left hand, and their course is directed to the right. 
 This piece is extremely rare. 
 
 5 1 o 4i o 
 
 1 17 THE RAT-KILLER. 
 
 This piece represents an old man, holding in his 
 left hand a pole, with a cage on the top of it contain- 
 ing rats. On the top of the cage sits a live one, and 
 from the bottom is suspended a dead one ; there is 
 likewise a rat perched on his shoulder. He has a high 
 cap on, and a sword hanging by his side, with a short 
 fur cloak, thrown over his right arm, and hanging 
 behind him. He is accompanied by a little boy, who 
 carries a box of ratsbane ; the old man offers a packet 
 of it to another, who is leaning over a door-hatch to 
 the left ; he puts it aside with his hand, rejecting it, 
 and likewise turns his head from it. By the side of 
 the door appears the trunk of an old blasted tree, and 
 a broken cart. To the right in the distance is a cot- 
 tage, with trees appearing above it. Near the bottom 
 
FANCY PIECES. 87 
 
 on the right side is written Rt. 1632, the 3, with 
 the 2 after it, are reversed. 
 
 5 * s - 4« o 
 
 There are /wo impressions of this print. 
 
 In the first impression, which is wry scarce, the trees above 
 the head of the rat-killer are not cross-etched. 
 
 l8 THE RAT-KILLER. PRESQUE-UNIQUE. 
 
 This piece is coarsely scratched and spotted, and ap- 
 pears to be the study made by Rembrandt for the pre- 
 ceding piece. It is found in Remnghen s collection 
 made for the king of France , and in a collection in 
 this kingdom ; but the dimensions differ ; being set 
 down by Ad. Helle and Glomy 4 t 9 o- by 3 ^° * n for- 
 mer collection, but in the latter, it is said to measure 
 £ t 7 _. by 4. The rat-killer is seen in profile to the left 
 of the print, and looking towards the right ; his arm is 
 extended, and he holds outone of his packets in his hand, 
 offering it for sale. By his side a long pole is fixed 
 in the ground, at the top of it is a round cage from 
 which hang some dead rats. 
 
 9 the goldsmith. 
 
 This little print was formerly very scarce , the plate 
 having been mislaid, but being found again, it is become 
 very common , though it is still difficult to meet with a 
 good impression. It is etched in a good stile and well 
 finished. The goldsmith is seen in front, holding a 
 group representing charity, with his left hand, and a 
 hammer in his right, with which he strikes upon the 
 ground of the group. To the left is a forge burning. 
 
FANCY PIECES. 
 
 In the left corner at the bottom is to be distinguished 
 with great difficulty, Rembrandt 16. 
 
 3 tV — 2t<j 
 
 120 THE PANCAKE WOMAN. 
 
 This piece is etched with much spirit, and has a 
 good effect. There are many figures, but the prin- 
 cipal is an old woman in profile, sitting in the middle, 
 and turned to the right. With her right hand she 
 holds a fryingpan over a fire, with cakes in it, and 
 in her left she holds a stick with which she turns 
 them. In the near front is a child on the ground, 
 crying for fear of a dog, that wants the cake, which 
 he holds with both hands. In the distance to the left 
 is a woman with a child on her knee. In the middle 
 of the margin at bottom is written Rembrandt f. 1635. 
 
 . a _ 1 
 
 4 To" Sto - 
 
 12 1 THE SPORT OF KOLEF. 
 
 To the right, in a box, such as is found in the 
 public gardens in Holland , is a man in a high-crowned 
 hat, sitting down with his hands crossed, and his left 
 elbow supported on a table, with a pot of liquor on 
 it. His right leg lies extended on the bench whereon 
 he sits. Out of doors, on the left, is a man striking a 
 ball with the instrument used in this sport. Through 
 an opening in the middle, are seen two men, one 
 sitting and the other standing. This piece is very 
 slightly etched, and does not produce much effect. 
 On the left towards the bottom is written Rem- 
 brandt f. 1654. 
 
 3t 8 c — 5t% 
 
FANCY PIECES. 
 
 89 
 
 122 a jew’s synagogue. 
 
 This piece is very well executed. In front to the 
 left stand two old Jewish Rabbles , who are the prin- 
 cipal figures. They are in earnest conversation ; the 
 left hand of one of them is supported on a walking 
 stick, and his right is placed on his breast ; his 
 whole attitude is expressive of attention ; and the 
 other seems to be addressing him with much energy, 
 his right hand being raised and in motion. Farther 
 back on a step in the middle of the piece, sits a Jew , 
 seen from behind. Part of the temple is seen in per- 
 spective, and several Jews are walking and holding 
 discourse together. On some stone-work, above the 
 left shoulder of the Jew with the stick, is wiitten 
 Rembrandt f. 1648. 
 
 2 A — 5 A 
 
 123 FORTUNE, AN ALLEGORICAL PIECE. 
 
 This print is found at page 97 of a Dutch book, 
 printed at Amsterdam in 1634, entitled, E. FEercnman s 
 Zeevaerts Lof. i. e. VEloge de la Marine par E. 
 Herckmans. There are many other prints in the 
 book, but only this by Rembrandt. To the right is 
 a Dutch vessel crowded with people, in which stands 
 the figure of Fortune as a naked woman, seen from 
 behind ; she hoists up the sail with her left hand, 
 and expands it with the right. On the shoie is a 
 man crowned with laurel, on a horse that has 
 fallen down ; he looks after Fortune with regret, as 
 she has turned her back on him, and is leaving him. 
 Above him is seen a colossal Term of Janus y whose 
 
9 o 
 
 FANCY PIECES. 
 
 temple is on the left ; many persons are ascending a 
 flight of steps which lead to its portico. At the bot- 
 tom of the steps, some seem to be in attitudes of 
 prayer, others of complaint. In the distance beyond 
 the vessel, a fleet of ships is discovered, some of which 
 appear to be engaged in action. This piece is exe- 
 cuted with spirit, and a good impression is scarce. 
 On the side of the vessel is written Rembrandt f 
 1633, but the name is scarcely perceptible. 
 
 4ro — 6 t V 
 
 24 THE MARRIAGE OF JASON AND CREUSA. 
 
 This piece is extremely well executed and produces 
 a fine effect, particularly in the double flight of steps, 
 which lead up to the temple. It was designed and 
 etched as a frontispiece to a Dutch tragedy , called 
 Medea , which was written by Rembrandt’s friend and 
 patron, the Burgomaster Six, who was then secretary 
 to the city of Amsterdam. 
 
 It represents the inside of a temple, adorned with 
 many columns which support an arched roof. From 
 side to side a curtain-rod is stretched, supported in 
 the middle by something suspended from the roof ; 
 the curtain is drawn to each side, and hangs in fes- 
 toons. The temple is crowded with figures. On the 
 right appears the statue of yum sitting under a cano- 
 py ; before the statue is an altar, with the fire kindled 
 upon it, and a priest standing by it. Jascm and Creusa 
 are kneeling before the altar. The body of the tem- 
 ple is ascended to, by a double flight of steps, towards 
 which Medea is approaching from the right, in an at- 
 
FANCY PIECES. 
 
 9 1 
 
 titude of sorrow ; her right hand is raised, and in it 
 she holds a handkerchief ; her train is supported by 
 a page. In the margin at bottom are four Dutch 
 verses, and to the right is written Rembrandt f. 1648. 
 
 9 to — 7 
 
 Of this piece there are three impressions. 
 
 In the first , which is extremely rare , the top of Juno's 
 head is only covered with a little cap or calotte. This 
 was no very decent appearance for a goddess, therefoie 
 Rembrandt substituted a crown in its stead in the second 
 impression, which is scarce ; and in the third impression 
 the Dutch verses ax*e added. 
 
 25 THE CORN-CUTTER. 
 
 A young woman tolerably handsome, is sitting on 
 ~ a bank at the foot of a large tree, and turned to the 
 left. Her hair is curled, and turned up behind with 
 a fillet ; she has neck-laces with ear-drops, and in her 
 left hand she holds a flower. Her cloathing is rich * 
 it is tied at the wrists, but is fallen off her shoulders 
 down to the 0 waist, and she appears as if undressing 
 to bathe. Before her sits an old woman with spectacles 
 on, who is paring the corns or nails of her right foot, 
 above which a piece of water is seen. In the off-skip 
 are discovered two figures ; and in the back-ground 
 a large building in ruins, which is faintly expressed. 
 This piece is highly finished and is very scarce. 
 
 4xo — 3 to 
 
 P. Tver was of opinion, that this print ought to have been 
 ranked among the doubtful ones. 
 
92 FANCY PIECES. 
 
 126 THE SCHOOLMASTER. 
 
 This piece is well executed ; it represents a school, 
 in the door-way of which is an hatch shut close, on 
 its outside appears a woman leaning, and over it is 
 seen the head of a child. The light is full on the 
 woman’s face and shoulder, and produces a good 
 effect. To the left is the schoolmaster in conversa- 
 tion with the woman, and five or six children about 
 him. Near the top of the door, which is arched 
 and half open, is written Rembrandt f. 1641. 
 
 127 THE MOUNTEBANK. 
 
 He wears a cap, with a large ruff round his neck, 
 and ruffles at his hands. He has a basket before him, 
 out of which he has taken a packet, which he holds 
 out with his left hand : his right hand is placed on his 
 side, and below it hang a pouch and a sabre. His 
 knees are a little bent. Beneath his feet is written 
 Rembrandt f. 1635. This piece is lightly etched 
 with great spirit. 
 
 3to *tV 
 
 128 THE DRAUGHTSMAN. 
 
 To the right is a young man in a cap, who holds 
 an ink-stand in his left hand, and is drawing by can- 
 dle light, in a portfolio, after a bust which stands on a 
 book to the left. Over the bust is a pedestal, and 
 along side of it is a chest, on which lie several 
 port-folios. 
 
 St s' “ 2 i"o 
 
 ✓ 
 
FANCY PIECES. 
 
 93 
 
 PEASANTS TRAVELLING. 
 
 This piece is etched with spirit. A peasant in a 
 high crowned hat, the brim of which projects over 
 his eyes, is travelling to the right; he has a staff in 
 his left hand, and leads a little boy with his right. A 
 woman, with a child on her back, follows them. The 
 figure of the man is the most finished. The sleeves of 
 his doublet have many seams and folds, and he carries 
 a knapsack behind him. In the distance to the right, 
 appears some unfinished object, which cannot well be 
 ascertained. 
 
 4to- — 3to 
 
 CUPID REPOSING. 
 
 Cupid is reposing himself on a bed, in the middle 
 of the print ; his wings are displayed ; his right elbow 
 rests upon a pillow, up to which rearshis bow unstrung ; 
 his quiver hangs on his left side, in a sash that goes 
 round him. On the left of the print is a curtain, and 
 on the right side another, poorly expressed, drawn up 
 in - a festoon. The design is heavy, and the etching 
 executed in a dry hard manner. P. TTver attributes 
 it to some pupil of j Rembrandt's, or if it is the work 
 of Rembrandt , thinks it must be one of his earliest 
 productions. In the right corner at the bottom, theie 
 is the 'ttppearance of a name, but the strokes are so 
 confused that it cannot be decyphered. It is very 
 scarce , 
 
 3t o ' 4to 
 
 There are two impressions of this piece.. 
 
J 
 
 9+ FANCY PIECES. 
 
 The first is less wrought upon and is ?nore scarce than the 
 
 other. 
 
 There is a copy reversed, the same size of the original. 
 
 131 THE JEW WITH THE HIGH CAP. 
 
 He is represented walking from the left to the right; 
 his head is covered with a very high cap, equally wide 
 at the top and bottom ; he leans upon a walking stick 
 with his right hand, and seems to point towards 
 something with his left. This piece is spiritedly 
 etched with a light hand. Near the middle of the 
 margin is written Rembrandt f. 1639 . 
 
 0-3 . _ t_7 
 
 0*0 A 1 o 
 
 132 AN OLD MAN WITH A BOY. 
 
 Thispiece is beautifully etched with a very fine point! 
 
 . The old man is sitting on a bank, on which behind 
 him grows a bush of flowers. He has a long beard, 
 and there is a pleasing expression in his countenance. 
 His head is covered with a turban. Between his legs 
 stands a little boy, leaning his right elbow on the 
 right knee of the old man : he holds an apple in his 
 left hand, smiling, while the old man is chucking him 
 under the chin. At the bottom to the left is written 
 Rembrandt f. 
 
 4 t 6 o - ~ 3ro 
 
 133 THE ONION WOMAN. 
 
 1 his piece is executed in a good stile, and produces 
 a singular effect. An old woman is represented sitting 
 to the right of the print, and turned towards the left ; 
 she leans forward, raising her arms upon her knees, 
 and clasping her hands. Her feet, which are naked. 
 
FANCY PIECES. 
 
 95 
 
 are placed upon a Dutch stove. A rope of onions, 
 which hangs upon the wall to the left, gives name to 
 the print. Between them and the old woman, are a 
 pair of crutches, reared up to the side of an old 
 arched door. Near the top on the right side is writ- 
 ten Rt. 1631. This piece is extremely rare. 
 
 A 8 _ X 
 
 4 rc> 3 1 o 
 
 There are two impressions of it. 
 
 The first impression may be regarded as presque-unique. It 
 is less wrought upon in general, and the effect is not 
 equal to the finished print. It is without the name 
 and date. 
 
 134 THE PEASANT WITH HIS HANDS BEHIND HIM. 
 
 The peasant is an half-length, turned towards the 
 right, and seen in profile. He wears a scanty dou- 
 blet, and a fur cap upon his head ; his hands are 
 placed behind him. N ear the top to the left is written 
 Rt. 1631. 
 
 2~ro 2 
 
 Of this piece there are three impressions. 
 
 In the first impression, which is very scarce , there is the 
 bur, and it is less worked than the two succeeding ones, 
 particularly in the neck, under the hands, the sleeves, 
 and shoulder; there is also a little difference in the 
 nose and mouth. 
 
 135 A MAN PLAYING AT CARDS. 
 
 This piece is etched with a light tool, and but little 
 shaded ; the card player is seen in front, and has a 
 sharp pointed chin. He has the common cap on his 
 head, and his hair is long and straight, he leans on a 
 table, and holds the cards in his hands. The back 
 
 4r - 
 
96 
 
 FANCY PIECES. 
 
 ground is shaded, and is darkest on the right side to- 
 wards the top, the whole producing but little effect. 
 On the left, about half way between the top and bot- 
 tom, is written Rembrandt f. 1641. 
 
 2-_®_ '»_ • L. 
 
 O 1 ° O 1 o 
 
 I36 THE OLD MAN WITH A SHORT BEARD AND A 
 
 stick:. 
 
 This piece is lightly etched, but with great spirit. 
 It represents an old man with a short thick beard, 
 seen in front, with a large turban on his head. He 
 wears a cloak hanging over his shoulders ; his vest is 
 fastened with a girdle, in which he sticks the thumb 
 of his right hand. His left hand is supported on a 
 stick. The back-ground is white, but is spotty on 
 the left side. This print is scarce. 
 
 137 THE BLIND FIDLER. 
 
 The fidler is led by a dog ; he has a high fur cap 
 on his head, a cloak over his shoulders, and is directed 
 towards the right, playing on his instrument. In the 
 back ground to the left, appears an old woman who is 
 going into a cottage, behind which is a tree. In the 
 margin is written Rt. 1631. It is highly finished. 
 
 3 To ” ’ 2-j -g- 
 
 Of this there are three impressions. 
 
 In the first which is very scarce , the figure of the fidler is 
 less wrought upon in the neck and drapery. 
 
 In the second the figure is rather more finished. 
 
 In the third it is highly finished, being touched up with 
 the dry needle. 
 
EANCY PIECES. 
 
 
 438 Yhe man .on horseback. 
 
 He is mounted on a horse turned to the left, and 
 seen almost from behind ; on his left shoulder is a 
 pike. Below the horse’s head appears part of another 
 figure, seen also from behind, in a cap and feather ; 
 and above him to the left is an indistinct figure, though 
 strongly etched. This little piece is executed with 
 spirit. In the right hand corner, at the top is writ- 
 ten in reversed letters Rt. 
 
 oJL 2— - 
 
 O 1 o 
 
 139 THE POLANDER. 
 
 He is seen in profile* ahd his face is very eicptessive ; 
 he has on a very high cap, and a cloak which comes 
 no lower than the waist ; he is walking towards the 
 right, his hands are a little raised and joined together 
 before. This piece is well etched with a very fine 
 point. 
 
 2 — — l-2_ 
 
 * 1 1 o 
 
 140 ANOTHER POLANDER. 
 
 He has moujiaches , and is seen in profile, turned to 
 the left. In the front of his cap is a feather that falls 
 back over the head. His belt is thrown across his 
 shoulder, and his sabre hangs by his side ; a short 
 cloak hangs over his right shoulder, and he rests his 
 hands upon a stick. In the distance to the left is a 
 tree on rising ground. This piece is highly finished. 
 
 — i t 7 o' 
 
 There are three impressions of it. 
 
 The >7/ is very scarce. It is taken off before the shadows 
 
 G 
 
9 8 
 
 FANCY PIECES. 
 
 were deepened by the dry needle, and Is on that 
 account more pleasing. 
 
 141 AN OLD MAN SEEN FROM BEHIND. 
 
 The figure is an half-length turned to the right, 
 and seen from behind, but the face is nearly in pro- 
 file. He has on his head a large fur cap, bound round 
 with a fillet, and an ear-piece, from which a string 
 falls upon the shoulder. His habit is fastened round 
 the waist with a girdle. His hands are raised and 
 joined together as if resting upon a stick. This piece 
 is well executed, and a good impression is scarce. It 
 was originally part of a leaf of sketches, N . 332. 
 It ought to have been classed among the beggars, for 
 the figure is very ragged at the elbow. 
 
 2-?- — « t _Z_ 
 
 *10 1 To* 
 
 There are tntjo impressions of it. 
 
 Th z first, which is very scarce , is the original etching, with- 
 out being touched upon afterwards. 
 
 The second impression is very much strengthened through- 
 out with the dry needle. 
 
 142 THE TWO TRAVELLING PEASANTS. 
 
 Two peasants, a man and woman, are represented 
 travelling on foot, from the left to the right. The 
 woman has a child on her back, and leans on a staff, 
 the better to support her burden. The man is on the 
 farther side of her ; his hat is flapped, and his stick is 
 under his arm. Their action is very well expressed. 
 In the distance appear some trees, rudely sketched. 
 
FANCY PIECES. 
 
 99 
 
 143 THE OLD MAN WITHOUT A BEARD. 
 
 He leans his back against the left side of the print, 
 as if supported by something which does not appear. 
 His body is a little bent, and his legs are brought for- 
 ward. He wears a cap, and is covered with a cloak 
 that hangs down to the ground. His left hand is 
 raised and pointed. The ground is white. At the 
 top of the print on the left is written, Rt. 1631. 
 
 There are five impressions of this piece. 
 
 In the first which is extremely rare , the figure is sketched 
 only with an outline ; the plate (which was afterwards 
 reduced) is 3 — 2, and it is without the name and date. 
 
 In the second impression, which is very scarce , the plate 
 is 2 -jL. — 1^; the cloak is shaded in the folds, but 
 is less so than in the subsequent impressions ; as is like- 
 wise the upper part of the thighs. There are three 
 folds in that part of the cloak which is raised by his 
 left arm, but only two in the following impressions. 
 This impression is the best. The name and date are 
 inserted. 
 
 In the thirds the thighs are more shaded, and the cloak on 
 the left side is also more shaded by strong single upright 
 strokes, but the front is light. 
 
 In the fourth , there is still more shade. 
 
 In the fifth) which is -most common, the cloak is strongly 
 shaded with the single upright strpke to the front. 
 
 144 AN OLD MAN WITH A BUSHY BEARD. 
 
 The figure is turned towards the right, in a stoop- 
 ing posture, leaning against a bank placed on the left 
 
100 
 
 FANCY PIECES. 
 
 of the print. The face is a three-quarters ; the head 
 is covered with a fur cap ; the hands are raised a little, 
 and rest on a stick which contributes to support the 
 figure. In the right corner at the top is written, in re- 
 versed letters, Rt. 
 
 4to- — “ 3 t ® 
 
 145 THE PERSIAN. 
 
 This piece is very highly finished, in a good taste, 
 with an exceedingly fine point. He is an old man with 
 a great beard, richly habited, and seen in front. He 
 wears a fur cap adorned with a feather, and is co- 
 vered with a short cloak, bordered with fur ; his ha- 
 bit is fringed, and being open at the top, discovers a 
 ribbon, at which hangs a medallion. His right hand, 
 which holds his cane, comes out from under his cloak. 
 His countenance is very austere. Near the middle at 
 the bottom appears, Rt. 1632, but the two last 
 figures are written backwards. A fine impression, is 
 scarce. 
 
 A~io — 3 rs 
 
 Of this piece there is a good old copy, reversed ; it measures 
 
 4t% 3 • 
 
 There is likewise another copy, not so well executed, which 
 measures — 2-^. 
 
 146 A BLIND M AN. 
 
 The figure is an old man, habited like a Jeiv, in a 
 fur cap and slippers. He is directed towards the left, 
 and seen nearly from behind ; he leans upon a staff 
 with his left hand, and with his right, is groping for a 
 
FANCY PIECES. 
 
 IOI 
 
 door which is before him, in an attitude as if fear- 
 ful of hurting himself against any thing that may be in 
 his way. This piece is very scarce. 
 
 Of this piece there are three impressions. 
 
 The first may be reckoned as presque -unique. It measures 
 — ifig. In it some parts of the drapery are less 
 shaded, the slippers are quite white, as is also the up- 
 per part of the door. There are etchings in the back- 
 ground, between the feet, and from the stick to the 
 garment, which were afterwards erased. 
 
 In the second impression, the size is reduced to that which 
 has been first described. The upper part of the door 
 is light, and it is extremely rare. 
 
 *147 THE ASTROLOGER. 
 
 He is sitting in an elbow chair, turned to the right, 
 at a table on which is a globe and many books. Over 
 him appears an arch of stone-work. This piece is well 
 executed, and is net common ; but it is not the work 
 of Rembrandt , the name Ferdinand Bol , being percep- 
 tible among the etchings in the back-ground, behind 
 the chair. 
 
 5 
 
 *148 TWO VENETIAN FIGURES. 
 
 T hey are seen in profile, walking side by side 
 from left to right ; they are covered with long cloaks, 
 and have high caps on their heads in the Venetian 
 fafhion. The etching is rather hard. This piece is 
 extremely rare. 
 
 3to ■ ho 
 
10 * 
 
 FANCY PIECES. 
 
 *149 A LITTLE POLISH FIGURE. 
 
 He is seen in profile, turned to the right ; on his 
 head is a turban ornamented with a feather, his right 
 hand is placed on his hip, and the left holds a cane. 
 Towards the top of the print is written Rt. 1631. 
 This piece may be esteemed as unique , being one of 
 the rarities in BeringherCs collection. 
 
 2 To — I 
 
 150 A PHYSICIAN FEELING THE PULSE OF HIS PA- 
 
 TIENT. 
 
 The physician is a half-length, and is the same 
 figure, as that in the Death of the Virgin , reversed. 
 He is feeling the pulse of his patient, of whom only 
 the back-part of the head, and part of the body are seen. 
 It has been supposed that Rembrandt designed this 
 piece as a study, to be introduced in that of the Death of 
 the Virgin , which is one of his most capital perfor- 
 mances ; there are others however, who do not look 
 upon it as the work of Rembrandt. It is extremely 
 rare. 
 
 2 /*-— a A 
 
 15 1 THE SKATER. 
 
 This piece represents a man skating. He has on his 
 head a flat bonnet, such as the Scotch wear, and he 
 carries a staff on his right shoulder, which he holds 
 with both hands. He is skating from the right towards 
 the left. This piece is very lightly etched and full of 
 spirit. Gersaint had never seen it, when he made his 
 catalogue, and P. Tver says, that it is not only very 
 scarce, as Gersaint stated it, but may be regarded as 
 
FANCY PIECES. 
 
 103 
 
 presque -unique. It ought not however to be ranked 
 as so very uncommon, though it is extremely rare. 
 
 2 — — 
 
 ‘10 1 o 
 
 152 THE HOG. 
 
 The beast is lying in the fore-ground of the 
 print, turned towards the left ; his legs are coupled 
 together, and he is tied to a stake. Over him appear 
 five figures, all sketched with the outline only, viz. 
 an old man with a basket on his arm ; a boy who is 
 teazing the hog with the grunting of a bladder under 
 his arm ; two young children looking at the hog with 
 much compassion ; and a figure seen in profile above 
 them. In the right corner at the bottom is written 
 Rembrandt f. 1643. This piece is well etched with a 
 fine point, and is scarce. 
 
 5to — 7-r* 
 
 153 THE LITTLE DOG SLEEPING. 
 
 The dog is represented lying asleep on the right 
 side of the print, and is etched with a fine point, 
 somewhat in the manner of Della Bella. Pie has a 
 collar round his neck, to which a strap is fastened, 
 which lies extended before the dog. This piece is very 
 scarce , and is one of those, which on that account, are 
 rated much above their value. 
 
 It-o — 3t^ 
 
 There are two impressions of it. 
 
 The first is extremely rare , and is not mentioned either by 
 Gersaint , or in the Supplement. In it the shadowing in 
 the back-ground does not extend to the left side by 
 about a quarter of an inch. It measures i-^ by 3-^ 
 
FANCY PIECES. 
 
 104 
 
 The second impression which is very scarce , is reduced 
 nearly half an inch on the left side, and a little at the 
 bottom. 
 
 *54 THE SHELL. 
 
 This is the representation of the shell known by the: 
 name of the JDamier. The back-ground is deeply 
 shaded. To the left in the margin is written Rem- 
 brandt f. 1650. This piece is finely executed, and is 
 extremely rare. It is, however, another of those pieces 
 which are rated at an exorbitant price, on account of 
 their scarcity. 
 
 3t 8 o— 5t^ 
 
 There is an impression, in which the back-ground is left 
 white, but it may be regarded as presque-unique. 
 
VI. BEGGARS. 
 
 155 Al BEGGAR STANDING, SPIRITEDLY ETCHED. 
 
 This figure is etched with little more than an outline ; 
 he has on a large fur cap, and his clothes are very ragged ; 
 he leans with both his hands on a staff, and his body 
 is a little bent forward. The back-ground is white, 
 except a little bank on the left side. It is scarce. 
 
 6 A — 4to 
 
 156 A BEGGAR, A PROFILE IN A CAP. 
 
 He is covered with rags, and girt round the waist 
 with a belt : he is walking towards the left, and has a 
 staff in his right hand, and a pouch at his side. 
 There is a light single stroke in the back-ground, 
 near the top of the print, which touches the top of 
 his cap in two places, and is carried behind him 
 downwards opposite to his waist. This piece is well 
 executed, and is very scarce. 
 
 n 5 j J?__ 
 
 jio MO 
 
 *57 TWO BEGGARS, A MAN AND A WOMAN, CON- 
 
 • VERSING. 
 
 They both appear to be old, and are standing op- 
 posite to each other, in conversation ; the man is on 
 
io6 
 
 BEGGARS. 
 
 the left, he wears a cap, and a pouch hangs before 
 him ; his right hand is behind him, and he leans on a 
 stick with the other. The woman’s hands are placed 
 one on the other, and supported on a stick ; she wears 
 a flat hat, her head is a little inclined, and her back 
 is prominent ; on her left arm hangs a basket. This 
 piece is well designed, and executed with a light 
 stroke. 
 
 3tW — 2 j% 
 
 58 TWO OTHER BEGGARS COMING FROM BEHIND A 
 BANK. 
 
 This piece is well designed, and highly finished. 
 The beggars are coming from behind a rocky bank, 
 which reaches to the top corner of the print on the 
 left side. The bank hides the lower part of the man, 
 who is the next to it, and his figuie conceals the hinder 
 part of the woman from view. He is in a fur cap, 
 under which is a linen cloth wrapped round his head, 
 with the ends lying on the right shoulder ; his mouth 
 isopen, and his beard is short and downy; he leans 
 with both hands on his staff. The woman who is 
 seen in profile, has on a little flat hat, under which is 
 a linen cap that falls down her neck, and forms a kind 
 of ruff; her hands are under her apron. 
 
 o 9 — - 6 
 
 2 T(? 
 
 Of this piece there are three impressions. 
 
 The first impression which is very scarce, measures 4 T \- 
 by 3 tV The bank is more distinct, and the foliage 
 scattered on it is readily discriminated. The head and 
 shoulders of the man are not so much worked upon. 
 
BEGGARS. 
 
 i°7 
 
 and the shades on the woman’s face, and between her 
 shoulder and cap are not so deep. In the right corner 
 at the bottom is written Rt. but this was cut off when 
 the plate was reduced in size. 
 
 The second impression measures 3-,% by 2-^, and is scarce. 
 The man’s shoulder is still only shaded with a single 
 horizontal stroke, but his head and neck are more 
 shaded, and the woman’s face, the upper part of her 
 shoulder, and the fore part of her waist, are more 
 shaded. The hillock is shaded deeper, but has a worse 
 effect, being more confused and indistinct. 
 
 The third impression is most common . The man’s shoulder 
 is shaded with the double stroke, the slope of the rock 
 is more formed, and the shadowing still more harsh 
 and indistinct. 
 
 159 A BEGGAR IN THE MANNER OF CALLOT. 
 
 He is seen in profile turned to the right, and is ex- 
 tremely ragged ; he has a high cap on his head, pointed 
 in front at the top, and a cloak over his shoulders, 
 which falls down to his knee , his right hand comes 
 out from under his cloak, and rests on a stick ; his 
 knees are a little bent, and his shoulders are promi- 
 nent. This piece is very scarce. 
 
 3 A — Ito 
 
 There are two impressions of this piece. 
 
 In the first impression, which is *very scarce , the fore-part 
 of the cap is higher, the drapery less shadowed, and 
 his left leg is entirely without shadowing. This im- 
 pression is more agreeable than the second. 
 
io8 
 
 BEGGARS. 
 
 160 A BEGGAR IN A SLASHED CLOAK. 
 
 This is another beggar in Callot's manner. He has 
 on a very singular pointed cap, which has the ap- 
 pearance of the head of a bird of prey, when the print 
 is turned side-ways. His cloak is slashed, or torn at 
 the bottom, rather than ragged; he has a walking 
 stick which is perceived in the space between his legs. 
 He is seen in profile walking from the right to the 
 left, and stooping very much. The back-ground is 
 more worked on to the left, than to the right ; it con- 
 sists of a bank with a tree growing out of it near the 
 top of the print. This piece is scarce. 
 
 Of this piece there are three impressions. 
 
 In the first which is very scarce , the lower part of his face 
 and neck are light, as are the back of his right leg and 
 shoe. 
 
 In the second, which is scarce , his face is wholly shaded 
 with diagonal lines, and his right leg and shoe are 
 strongly shaded with the single stroke; his cloak is 
 likewise more shaded towards the bottom. 
 
 In the thh d the face and the cap are more worked upon, 
 but the etching of the face is so hard as to injure the 
 countenance. 
 
 *6l A BEGGAR-WOMAN IN CALLOT’s MANNER. 
 
 The body is seen chiefly from behind, turned to 
 the left, and leaning forward. Her face is in profile, 
 and her left hand is raised towards her mouth. She 
 wears a little flat hat tied under the chin. Behind her 
 
BEGGARS. 
 
 109 
 
 hangs a leathern bottle. Her clothes are very ragged. 
 At the bottom is a vacant margin. 
 
 a I T 8 
 
 4 1 *0 *10 
 
 162 A BEGGAR STANDING. 
 
 He wears a great fur cap ; he is seen nearly from 
 behind, and directed towards the left ; his body is 
 bent, and his hands are supported on a staff. Near 
 the top on the right is written in small characters, 
 scarcely perceptible, Rt. This piece is very scarce. 
 
 Ito — 1 
 
 163 A BEGGAR WITH HIS DOG IN A STRING, ARCHED. 
 
 The head of the beggar is seen in profile, turned 
 to the left, and his body is seen from behind ; his 
 garment which is in tatters, is fastened round him 
 with a broad belt, from which hangs a knife ; he has 
 a high cap on his head, a Staff in his left hand, and 
 with his right he holds a dog in a string, of which 
 only the head is seen. The background is shadowed. 
 This print is extremely rare. 
 
 3to ^ 
 
 Of this there are three impressions. 
 
 In the first, the left arm, in particular, is less wrought 
 upon : and the calf of the leg, and the heel, are almost 
 white. 
 
 In the second impression these parts are more shaded. 
 
 In the third impression the cap is a flat one, the back* 
 ground to the right is etched with double strokes, as 
 well as the leg and the shoe on the left foot. Pierre 
 Tver remarks, that in Holland this piece is called, 
 Joseph under an arched gateway. This figure is the 
 same as that of Joseph in the flight into Egypt ^ N°. 52, 
 
no 
 
 BEGGARS. 
 
 and it appears probable, that the plate has been cut, 
 and altered in the manner in which it has here been 
 described. 
 
 164 A BEGGAR-WOMAN, ASKING ALMS. 
 
 This figure is an old woman, rather stooping, turn- 
 ed to the right ; over her shoulders is a short cloak, 
 and she wears a close cap ; her right hand is extended 
 as if asking alms, and her left is supported on a stick. 
 Behind her is a bush, which reaches as high as her 
 elbow. At the bottom is written Rembrandt f. 1646. 
 This piece is etched with a light point. 
 
 3tV — 2to 
 
 65 LAZARUS KLAI’, OR THE DUMB BEGGAR. 
 
 The words Lazarus Klap , which express the name 
 by which this piece is known in Holland , may be 
 rendered the Striking Beggar. It represents a dumb 
 man, with a little instrument in his hand, consisting 
 of several small flat pieces of wood, with a handle to 
 one of them, that by being shaken strike against each 
 other; this instrument is commonly used by the 
 deaf and dumb poor in Holland , to intimate their 
 wants. 
 
 The beggar is seen in profile, with his face to the 
 left, sitting on a little hillock ; his staff is placed be- 
 tween his legs ; he wears a high fur cap, and his body 
 is covered with a large cloak, which has three stripes 
 along the bottom ; the left side of the figure in gene- 
 ral is shaded. At the top to the left is written Rt. 
 1631. This piece is etched in a bold stile, and is 
 
BEGGARS. 
 
 in 
 
 deemed a great curiosity. It measured 3^ by 2 T V, 
 before it was cut to 
 
 3-rs- ®To 
 
 Of this print there are four impressions ; the three first are 
 before the plate was reduced in size. 
 
 In the first impression, which is extremely rare , the head, 
 and the edge of the cloak, which is turned back on the 
 shoulder, are nearly white. 
 
 In the second impression, which is very scarce , the face is 
 darker about the eye and ear, and the cloak is darker. 
 
 In the third impression which is more scarce than the 
 second ; the face is covered with the double stroke, and 
 the neck left white, which gives it the appearance of 
 an Harlequin s head. 
 
 In the fourth impression, which is very scarce , the cloak is 
 shaded where it is turned back on the shoulder, and 
 darker in other places. 
 
 66 THE RAGGED MARINER WITH HIS HANDS BEHIND 
 HIM. 
 
 This figure is well etched, and seen nearly in front, 
 his body being turned a little to the left, and his face 
 inclining a little to the right. He has on his head a 
 small cap, and under it a kind of night-cap, to which 
 hang two strings. His jacket which is ragged, is 
 fastened at the top with a string, and a little lower 
 down with a button, but is open below ; he wears 
 trowsers, and his hands in which he holds a stick are 
 behind him. He seems very pensive in his counte- 
 nance. On the right side are a few scratches, which 
 appear to be designed for the trunk of a tree. 
 
 56 6 
 
 3t~s 2rg- 
 
BEGGARS. 
 
 1 12 
 
 This print measured 3-^ by 2^%, and it is said that there 
 are three impressions before the plate was cut, and three 
 afterwards. The difference consists in their being 
 more or less finished. 
 
 167 A BEGGAR WARMING HIS HANDS OVER A CHAF- 
 
 INDISH. 
 
 This figure has much the appearance of old age and 
 distress. He wears a large cap with flaps on each side; 
 his face is nearly a profile, turned to the right ; he is 
 sitting in an armed chair covered with a cloak, and 
 holds a chafindish on his knees, over ^which he 
 warms his hands, with his fingers spread out. His 
 staff is passed through a frail that lies by him on the 
 ground. This piece is lightly etched with spirit. 
 
 3 — hf 
 
 Of this piece there are tivo impressions. 
 
 In the first impression, which is scarce, the frail is less 
 worked upon, and the ground towards the margin is 
 unfinished. 
 
 168 A BEGGAR WITH HIS MOUTH OPEN. 
 
 He is sitting on a hillock, on the left side of the 
 print. His head which is nearly in front, is unco- 
 vered, and his hair short and ffizled. His body is 
 turned to the right. His cloak which is furred is 
 very ragged, and fastened before with a button. He 
 is asking alms with a countenance full of distress. 
 His left hand comes from under his cloak, and rests 
 upon his right thigh, with the palm of it open. His 
 left leg Is bent, so as to discover the bottom of the 
 
BEGGARS. 
 
 n $ 
 
 foot, and the toes of his right foot appear through the 
 shoe. Near the middle of the margin is written Rt. 
 1630. This piece is well executed in a good stile. 
 
 4to — 2 t 7 o 
 
 There is a copy in the same direction, so well executed, 
 that it is extremely difficult to distinguish it from the 
 original. 
 
 169 AN OLD BEGGAR WITH A LONG BEARD, AND A 
 
 DOG BY HIS SIDE. 
 
 The etching of this piece is coarse and hard, the 
 shades deep and dark. It is however esteemed as a 
 great curiosity , being very seldom to be procured. He 
 is sitting on a bank on the right side of the print, and 
 turned towards the left ; his head, which is a three- 
 quarters, is uncovered, and the hair frizled ; he has a 
 ruff round his neck ; his cloak is large and very much 
 patched ; the toes of his left foot appear through the 
 shoe, and the leg is wrapped with a linen roller. He 
 is warming his hands over an earthen handled-pot, 
 which is placed on his knees ; a little rough dog sits 
 on the ground by him on the left. In the right cor- 
 ner at the bottom, is written Rt. 1651. 
 
 4"ro 1 3 T e - 
 
 170 BEGGARS AT THE DOOR OF A HOUSE. 
 
 Three beggars are standing before a door, which is 
 on the left side of the print. Over the hatch leans 
 an elderly man, who is giving them money ; he has a 
 long white beard, wears a high cap, and has his right 
 hand in a sling. The bars of the windows are so 
 strong, as to give them the appearance of the win- 
 H 
 
BEGGARS. 
 
 dows of a prison, rather than of a house. One of the 
 beggars is an old man in a broad brimmed hat ; ano- 
 ther, who receives the money, is a young woman with 
 a child on her back ; she has a stick in her left hand, 
 and carries a basket on her left arm ; the third, who is 
 in front, is a boy seen from behind, with a pitcher 
 hanging at his waist. This piece is well etched, and 
 carefully finished. In the right corner at the bottoni 
 is written Rembrandt f. 1648. 
 
 There are tnvo impressions of this print. 
 
 The first impression, which is <very scarce , is without the 
 name and date. 
 
 171 A BEGGAR AND ITS COMPANION, IN TWO PIECES. 
 
 These pieces, which ought to be considered as one, 
 are etched with spirit. The first represents a beggar 
 turned to the left ; he has on a little cap, and his hair 
 is very short. His face, which is a three-quarters, 
 and indeed his whole attitude, is very expressive of a 
 person shrinking from intense cold ; his left hand is 
 * thrust into the side of his habit, and the other is in his 
 bosom ; a knife hangs at his left side. In the distance 
 to the left, appears a small figure, with a pole on his 
 right shoulder ; he appears to be skating, though his 
 his legs are concealed from view by the fore-ground. 
 Near the top is written, Tis vinnich kout. It is very 
 cold. A little below is written Rembrand f. 1634, the 
 t being wanting. 
 
 A 3 . 1 7 
 
 4to- 1 I O 
 
BEGGARS. 
 
 ”5 
 
 The other represents a person somewhat better 
 habited. He stands erect, his face is a three-quarters, 
 his hair is short, and he has a large cap on his head ; 
 he has a smiling cheerful countenance. At his girdle 
 hang a pouch and a knife. In the distance to the 
 right, is a man in a high pointed cap, with his hands 
 wrapped up before him, and farther oft, the top of a 
 cottage with trees. At the top of the print is written 
 Dats met, which is as much as to say That's nothing , or 
 What signifies cold ? in answer to the words in the other 
 piece. A little below is written Rembran f. 163, the 
 letters dt and the fourth figure being wanting. 
 
 4to- 
 
 172 A BEGGAR WITH A WOODEN LEG. 
 
 This piece is somewhat in Callot's manner. The 
 beggar is seen nearly in front, but rather turned to 
 the right; his head is inclining, and his mouth a little 
 open. He wears a fur cap, and his forehead is bound 
 round with a linen cloth ; his left arm is in a sling 
 which goes round his neck ; his left leg appears to be 
 lame, and is supplied by a wooden one ; he is covered 
 with a ragged cloak, and leans on a stick which he 
 holds in his right hand. 
 
 4 Tu — 2t 6 C 
 
 *173 A PEASANT STANDING WITH HIS HANDS BEHIND 
 HIM, AND A BASKET AT HIS FEET. 
 
 This piece represents a peasant in a little cap, seen 
 in profile, and turned to the left ; his hands are behind 
 him, and a basket is placed on the ground near his 
 right foot. The back-ground to the left is rocky, 
 
n6 
 
 BEGGARS. 
 
 with some shrubs growing from it. This little print 
 is spirited, and is very scarce. 
 
 O _L - T 
 
 ** 1 o A I O 
 
 Pierre Tver is of opinion, that, notwithstanding it was 
 collected by De Burgy and others, as the work of Rem- 
 brandt, it is done by Livens. 
 
 *174 A BEGGAR, A SKETCH, UNIQUE. 
 
 The figure is an old man seen in profile, and look- 
 ing to the right. In the right hand corner of the plate 
 is another head in profile, covered with a cap that 
 stands up before, something like a mitre, though it is 
 square at the top. This print is in the collection made 
 by Beringhen , for the King of France. 
 
 oJ— — 2— 9 — 
 
 jio ^10 
 
 *175 TWO BEGGARS, A MAN AND A WOMAN, PRESQUE- 
 UNIQUE. 
 
 They are seen in profile, walking side by side, 
 from left to right ; the woman’s head is covered with a 
 bonnet, which comes so forward as to throw a shade 
 on the whole of her face ; her hands are under her 
 apron. The head of the man is uncovered. This 
 piece is likewise in the collection made for the King of 
 France. 
 
 4~3 
 
 *176 A BEGGAR IN CALLOT’s MANNER, UNIQUE. 
 
 This piece is coarsely sketched with an outline 
 only. It is in the same collection as the last print. 
 The beggar is in profile, walking to the right ; his 
 head is covered with a high cap, and his arms are wrap- 
 
BEGGARS. 
 
 117 
 
 ped up in his cloak, which is fringed at the bottom; his 
 staff is perceived between his legs. On the left is an old 
 cottage, before which is a little figure seen from be- 
 hind, and above it are seen some trees. The back- 
 ground is shaded with a few strokes to the left. 
 
 A J 
 
 4lO 4 I o 
 
 *177 A SICK BEGGAR LYING ON THE GROUND. 
 
 This sketch may be considered as presque-unique. It 
 represents a sick beggar, lying on the ground to the 
 left, with his back supported against a bank. On 
 one side of him, at a little distance, stands a woman, 
 with her hands joined together, leaning upon a stick ; 
 at her feet is a little dog. 
 
 3 ~ 2r«- 
 
{ 
 
 j, .Mt «i / ■ < a v : . ; ■ f! ;■?*, ; : :m • ••■ 
 
 , • 
 
 ‘ 
 
 
VII. FREE SUBJECTS. 
 
 Ledikant, or the french bed. 
 
 A young couple are discovered on a bed. It is 
 'extremely singular that Rembrandt has given the 
 woman four arms, as if he had been at a loss which 
 of the two to efface. At the head of the bed 
 stands a covered table, with a drinking glass and 
 two plates of cakes on it ; and on one of the bed posts 
 hangs the man’s cap with a large feather on it. On 
 the side of the room, at the foot of the bed is a pilaster, 
 and to the left an arched recess, leading to a door, 
 at the bottom of which is written Rembrandt f. 1646, 
 but the two figures of six are written backwards. 
 This piece is executed in a masterly stile, and it is 
 much to be regretted that Rembrandt should spend 
 his time and abilities upon subjects so indecent, and 
 unworthy of his genius, as this and the next print. 
 It is a great rarity , and when entire, with a vacant 
 margin an inch broad, measures 
 
 6 — 8 to 
 
 Of this print there are three impressions. 
 
 The firsty which has been described,, is the scarcest. 
 
i2o FREE SUBJECTS. 
 
 The second impression differs only in having the margin 
 cut off. It is extremely rare , and measures 5 — 8-^.. 
 
 In the third impression, which is very scarce , the recess 
 and door, with the name, are cut off. It measures 
 
 c f\ 9 
 
 5 u To* 
 
 I79 THE FRIAR IN THE STRAW. 
 
 A friar with a woman, are discovered in some 
 standing corn. A jug stands on the ground by them, 
 and in the distance on the left, a reaper is perceived 
 at work. This piece is very scarce. 
 
 180 THE FLUTE PLAYER. 
 
 A shepherd and shepherdess, with their flock of 
 sheep, are seen in a retired corner of a copse ; the 
 back-ground is filled up with trees, and a piece of 
 water occupies the front of the pript. She sits on a 
 bank on the left side, and is making a garland of 
 flowers ; she has on a very broad hat. The man is 
 lying on the ground before her, playing on the flute ; 
 he is seen in front leaning upon his elbows, but his 
 eyes are turned sideways to admire the legs of the 
 shepherdess, which the shortness of her petticoats dis- 
 cover ; his hat lies on the ground by his left elbow, 
 and on his left shoulder an owl (with a string fastened 
 to it) is perched ; on which account the print is 
 called in Holland , The Owl. A shepherd’s crook 
 leans against the trunk of a spreading old tree. Near 
 the bottom a little to the right is written Rembrandt 
 f. 1640. This piece is very well executed. 
 
 4l O S^O* 
 
12 1 
 
 FREE SUBJECTS. 
 
 There are three very different impressions of it. 
 
 In the first , which is extremely rare , a head, resembling 
 that of Pan , is seen among the boughs of the tree, near 
 the top of the shepherd’s crook ; and the back-ground 
 above the hat of the shepherdess consists of some 
 light foliage. 
 
 In the second impression, which is very scarce , the head is 
 seen, but the foliage above the hat is made dark. 
 
 In the third impression the head is not seen, but its place 
 is filled up with foliage ; the back-ground behind the 
 shepherdess, is more worked upon, and some weeds 
 in the left corner, at the water’s edge, are highly 
 finished, and in a manner different from that of the 
 other impressions. 
 
 Of this last impression, there is a very good old copy re- 
 versed, with the name of Rembrandt , but without the 
 date. 
 
 181 THE SHEPHERDS IN THE WOOD. 
 
 An old man is sitting on a bank at the foot of a 
 large tree. He is fast asleep, leaning his head upon 
 his right hand. On the ground at his feet, sit a young 
 man and woman ; he appears to have his right hand 
 under her clothes, while she turns her head to see that 
 the old man is asleep, lest he should discover their si- 
 tuation. In a dark recess to the left, are two cows 
 standing. This piece is scarce. 
 
 182 A MAN MAKING WATER. 
 
 He is turned a little to the right ; he wears a cap 
 turned up with fur, and carries a large bundle at his 
 
122 
 
 FREE SUBJECTS. 
 
 back, and a pouch at his right side. At the bottom is 
 written Rt . 1630. It is executed with a light point, 
 and is scarce. 
 
 3t 6 — 2 
 
 There is a copy of this piece by V m Vliet, reversed, 
 
 183 A WOMAN CROUCHING UNDER A TREE, A COMPA- 
 NION TO THE LAST. 
 
 This piece represents a woman crouching under 
 the trunk of a large old tree ; which, with a bush by 
 its side, take up nearly the left part of the print. She 
 wears a hat which lies close to her head on the sides, 
 but the fore-part comes forward so as to cast a shade 
 on her face and neck. She turns up her head to the 
 left. On the bottom is written Rt, 1631. It is 
 extremely rare. 
 
 3x0 — 2-^ 
 
 Of this there is likewise a copy by Van Vliet , reversed. 
 
VIII. ACADEMICAL SUBJECTS. 
 
 ■A PAINTER DRAWING AFTER A MODEL. 
 
 This piece is called in Holland , the statue of 
 Pygmalion, but it is evidently the figure of a naked 
 woman standing upon a stool, which a man, who is 
 sitting in an elbow chair to the left, is drawing - after. 
 It is probable that Rembrandt designed it for his own 
 study, and that he is the painter who is making a 
 drawing of the woman ; for the room is hung round 
 with turbans, arms, &c. answering to the description 
 of Rembrandt's study, given by different authors of 
 his life. 
 
 Both the painter and the woman, with the greatest 
 part of the plate, are only sketched. There is an 
 easel with a picture on it. The parts which are 
 finished, are highly so, and consist of the upper part 
 of the easel which appears above the picture ; the back- 
 ground ; the top of a bough resembling that of a palm 
 tree, and a bust placed on a pedestal with some drapery 
 hanging behind it. It is not known why Rembrandt 
 left this plate unfinished. 
 
 „ I „ 2 . 
 
 9 1 » " 7 * 
 
124 ACADEMICAL SUBJECTS. 
 
 185 AN ACADEMICAL FIGURE OF A MAN, CALLED IN 
 HOLLAND THE PRODIGAL SON. 
 
 186 
 
 187 
 
 He is sitting down and seen in front, naked, ex- 
 cept a cloth tied round his waist ; his legs are extended, 
 and his feet placed on a stone, raised a little from 
 the ground at each end ; his hands- are joined, and 
 he appears to be ruminating on his misfortunes. To 
 the left at bottom, is written Rembrandt f. 1646. 
 This piece is scarce. 
 
 THE GO-CART. 
 
 The subjects in the front and in the back-ground, 
 have no relation to each other. In front to the left 
 are two academical figures. One is sitting with his 
 left knee bent, and right leg extended ; the other is 
 standing, with his right arm leaning on a pillow, and 
 his left hanging down. They are both of them 
 naked, except having cloth tied round their waists. 
 In the back-ground are sketched, a chimney piece, 
 and an old woman playing with a child in a go-cart. 
 This print is not common. 
 
 7 A — 5 
 
 THE BATHERS. 
 
 This piece is very slightly sketched. In front is a 
 piece of water, and a wood in the back-ground. In 
 the middle of the print is a man who has been bath- 
 ing, and is coming out of the water. To the left of 
 him on the ground, sits a naked man, with his hands 
 and knees raised up to his chin. In the distance to 
 the rights is a man in the water up to his knees ; his 
 
ACADEMICAL SUBJECTS. 
 
 125 
 
 clothes lie on a bank near him. To the left of him ap- 
 pears a naked man standing in the wood. Towards 
 the bottom, on the left, is written Rembrandt f. 1631. 
 
 4t o ” 5 to" 
 
 188 A MAN SITTING ON THE GROUND. 
 
 A man is sitting to the right, naked, except a cloth 
 tied round his waist. He supports himself on his 
 left hand, whilst his right rests on his knee which is 
 bent ; his left leg being extended before him. The 
 body is turned to the left. The back-ground is 
 shaded behind the figure. At the bottom to the left 
 is written Rembrandt f. 1646. 
 
 qA AJ> 
 
 jio U IO 
 
 189 THE WOMAN SITTING BEFORE a DUTCH STOVE. 
 
 She is sitting in a chair and turned to the right ; her 
 body is naked to the waist ; her right hand rests on her 
 linen, which lies on a toilet by her side ; her left leg 
 is naked, and rests across her slipper. Before her is a 
 Dutch stove, ornamented with pillars at the corners, 
 with figures in ovals in the pannels, and with a rich 
 broad border along the top. In the pipe or chimney, 
 is a key ; and on that part of the pipe which is turned 
 to the wall, is written Rembrandt f. 1658. In the wall 
 opposite to her is a broad niche. This piece is very 
 well executed, and is scarce. 
 
 9 — 7to 
 
 This print is remarkably curious in the difference of the 
 impressions, of which there are four. 
 
 The first impression may be regarded as presque-unique, and 
 
126 ACADEMICAL SUBJECTS. 
 
 is only the etching. The niche is not made out. She 
 has on a cap, and there is no key in the pipe of the stove. 
 
 The second impression is very scarce. It is in a finished 
 state, and, as in the first impression, she is in a cap, 
 without the key in the stove-pipe. 
 
 In the third impression, which is scarce , she is without a 
 cap ; her hair is tied up close behind, and there is a 
 key in the pipe of the stove. 
 
 In the fourth impression, which is extremely rare , she has on 
 a cap, and the key remains. 
 
 I9O A NAKED WOMAN. 
 
 This woman is ill designed, fat and clumsy ; her face 
 is a full front, and the body is turned to the right. 
 Her hair hangs full on both shoulders ; she is sitting 
 on a hillock ; her left arm is raised up and leans upon 
 her linen, and her right hand rests upon the clothes on 
 which she sits. Of this piece a good impression is 
 seldom to be procured. 
 
 7 ^To 
 
 J9I A WOMAN PREPARING TO DRESS AFTER BATHING. 
 The subject of this piece, does not appear by any 
 means so disgusting as Gersamt has represented. On 
 the contrary, the effect is fine, and the whole is at 
 least, as well designed and executed, as any of the 
 prints of Rembrandt on similar subjects. 
 
 She is sitting, naked, and seen in front, but her head, 
 which inclines to the right, is in profile. Her hair is 
 bound up behind ; her right hand in which she holds 
 some apparel, rests on her thigh ; her left hand is 
 extended to a chair, which stands by her, and on it 
 lies a beaver hat, with a high crown, and z girdle 
 
ACADEMICAL SUBJECTS. 
 
 127 
 
 round it. On the left side at the top, in a pannel, is 
 written Rembrandt f. 1658. This piece is scarce. 
 
 6rV — 5 
 
 There is a prior impression, which is very scarce, in which 
 the bandage on her head, is much higher, than in the 
 second impression. 
 
 192 A WOMAN WITH HER FEET IN THE WATER, AFTER 
 
 BATHING. 
 
 She is sitting on a bank turned to the left, and 
 more than ankle deep in the water ; she is drying her 
 hands on a cloth ; her head is much inclined, and 
 seen in profile, and she has a cap on ; the back-ground 
 is rocky with some foliage. Behind her appears the 
 upper frame of a garden chair. 
 
 A3 
 
 U TO $ 1 O 
 
 The latter impressions of this print, are taken off after the 
 plate had been cleaned and retouched, and are more 
 brilliant. 
 
 193 A WOMAN BATHING NEAR THE FOOT OF A LARGE 
 
 TREE. 
 
 She is sitting on a bank near the trunk of a large 
 tree, calf-leg deep in water ; her body is inclined and 
 turned to the left ; her face is nearly seen in front ; 
 both hands are raised as high as her breast, and stretched 
 out, and she appears to be unfolding a richly embroi- 
 dered garment. Her linen is in part under her ; the 
 back-ground is dark and woody. To the right near 
 the bottom is written Rt. f. This piece is well finished, 
 and the chiaroscuro is good. 
 
 7 — 6^ 
 
rz8 
 
 ACADEMICAL SUBJECTS. 
 
 194 THE WOMAN WITH THE ARROW. 
 
 She is seen from behind, sitting on a bed, naked ; 
 her legs are crossed, and her left foot is raised so as 
 to discover the bottom ; her left hand rests upon the 
 bed ; and in her right, which is extended, she holds 
 an arrow, a little from the barb ; on the wrist 
 is a bracelet. She appears to be saying something to a 
 person lying in the bed, whose head is perceived in the 
 shade, just to the left of her arm. She has a 
 close netted cap on her head. On each side a cur- 
 tain is drawn up in festoons. Her linen lies on the bed, 
 behind her ; one of the sleeves hangs down, and rests 
 upon the ground. This piece is scarcer than any other 
 of Rembrandt' s academical figures. At the bottom to 
 the left, is written Rembrandt f. 1661. 
 
 8~4t% 
 
 195 A WOMAN SLEEPING, AND A SATYR. 
 
 She is lying naked on her right side asleep ; her head 
 lies high up to the left ; her arms are thrown over her 
 head, and her hands meet together. The satyr stands 
 behind the bed ; he has drawn the covering off her, 
 and holds it in his hands, gazing eagerly upon her. 
 The curtain is drawn up near the satyr’s head. Be- 
 neath the right knee, on the bed clothes, is written 
 Rembrandt f. 1659. This piece is etched with spirit, 
 £nd is scarce. 
 
 5 wo — 8 
 
 There are tavo impressions of it. 
 
 The first , which is very scarce , is less shaded, particularly 
 in the figure of the satyr. 
 
ACADEMICAL SUBJECTS. 
 
 129 
 
 196 ANOTHER PRINT ON THE SAME SUBJECT. 
 
 A woman Is lying asleep on a bed, her head Is 
 towards the right of the print; she lies on her 
 left side ; her right arm is extended, and rests on her 
 body ; the other arm is stretched out sideways, the 
 hand hanging over the side of the bed ; she is covered 
 from the feet, to a little above the knees. The whole 
 figure is well proportioned, which is seldom the case in 
 Rembrandt's female subjects. Behind the bed stands a 
 satyr, gazing upon her ; he rests his right hand on 
 the bed, and with his left holds back the curtains. In 
 the middle of the bed’s head is written Rt. This piece 
 is executed with a fine point. 
 
 3-n? ~ 4 A 
 
 There are two impressions. 
 
 In the first impression, which is extremely rare , the Co- 
 vering of the bed does not reach up to the knees of 
 the woman. 
 
 197 A NAKED WOMAN SEEN FROM BEHIND. 
 
 This figure, as well as the last, is well de- 
 signed, and executed in a good stile, in Rembrandt's 
 dark manner. She is naked, lying on a bed, and 
 takes up nearly the whole of the print. Her 
 knees are bent, particularly her right, which is 
 drawn up so much, that the foot lies under the 
 calf of the left leg. The back-ground is very dark. 
 
 I 
 
ACADEMICAL SUBJECTS. 
 
 In the left corner, at the bottom, is written Rem- 
 brandt f. 1658. 
 
 Of this there are tnm impressions. 
 
 In the firsts which is very scarce , the back of the woman 
 is lighter than in the common impression. 
 
IX. LANDSCAPES, 
 
 198 .A LANDSCAPE, TERMINATING WITH THE SEAj 
 
 AND RUINS ON THE SHORE. 
 
 To the left upon an eminence is a cow, and at 
 some distance, a man with a load upon his back ; be- 
 low this figure is another man, of whom only the 
 upper part is discovered ; at the foot of the eminence 
 is a third figure walking, covered with a long gar- 
 ment. This piece may be regarded as presque-unique. 
 
 2t-6 — 4-ro 
 
 199 A LANDSCAPE WITH A HOUSE AND A LARGE 
 
 TREE BY IT. 
 
 To the left is a house with a casement open, 
 through which appears the upper part of a figure. A 
 great tree grows up by the side of the house, and 
 near the middle of the print is a clump of trees, at the 
 foot of which runs a river ; and on the right, are 
 some mountains. This piece is very scarce. 
 
 i J oJL. 
 
 MO jl O 
 
 200 six’s BRIDGE. 
 
 This plate was produced by an incident which de- 
 serves to be related. Rembrandt lived in great inti- 
 
1$Z 
 
 LANDSCAPES. 
 
 macy with the Burgomaster Six , and was frequently 
 at his country -seat. One day when they were there 
 together, the servant came to acquaint them that din- 
 ner was ready ; but as they were sitting down to table, 
 they perceived that mustard was wanting : the Burgo- 
 master immediately ordered his servant to go into the 
 village and buy some. Rembrandt , who knew the 
 sluggishness of the Dutch servants, and that when they 
 answer, austons, a coming, they are half an hour before 
 they appear ; offered the Burgomaster a wager, that 
 he would etch a plate before his man returned with 
 the mustard. Six accepted the wager, and Rem- 
 brandt , who had always plates at hand ready varnished, 
 immediately took one up, and scratched upon it the 
 landscape which appeared from the window of the 
 parlour in which they were sitting. The plate was 
 finished before the servant came back, and Rembrandt 
 won his wager. The etching is slight, but it is a 
 wonderful performance, considering the circumstance 
 that produced it. 
 
 In the middle of the piece, is a wooden bridge, such 
 as is usually seen in Holland over canals. Two men 
 are standing upon the right side of it, leaning against 
 the rails, and conversing together ; below them appears 
 the canal, on which is a vessel that extends to the 
 right side of the print. In the distance, is a village, 
 in which is a church with a spire steeple, which is 
 seen under the boughs of two trees that are growing 
 on the left side of the bridge. At the end of the vil- 
 
LANDSCAPES. 
 
 133 
 
 lage to the right, a vessel is sailing. In the bottom 
 at the right corner is written Rembrandt f. 1645. 
 This piece is very scarce. 
 
 - 1 Q_8 
 
 5*0 ° 1 O 
 
 201 VIEW OF OMVAL, NEAR AMSTERDAM. 
 
 This subject is well chosen, and finely executed. 
 On the fore-ground to the left, is a clump of trees ; 
 one of them is the venerable trunk of a large tree 
 which appears to be nearly dead. On a bank, amongst 
 these trees, a young couple are sitting. The youth 
 is putting a garland on the head of the young woman. 
 T o the right of the trees, stands a peasant seen from 
 behind, looking at a covered barge, full of people, sail- 
 ing on the river. Over the river is seen the village of 
 Omval ; before it lie several boats, and to the right 
 are two windmills. At the right corner, at the bot- 
 tom is written Rembrant , 1645, ^ t> e ing omitted. 
 
 It is scarce. 
 
 hJ RJL 
 
 / I o °i«0 
 
 202 A VIEW OF AMSTERDAM. 
 
 This piece is executed in a good stile, with a very 
 fine point. The fore-ground is a marsh. The river 
 Amstcl crosses the print ; beyond it, Amsterdam is 
 seen in a point of view which exhibits many churches ; 
 and to the right several windmills. In the cen- 
 tre, a large double roofed building, with a windmill 
 near it, particularly attract the eye. To the left lie 
 the shipping. This piece is scarce. 
 
 A 4 • 
 
 4*o 
 
i34 
 
 LANDSCAPES* 
 
 203 THE SPORTSMAN. 
 
 The composition of this landscape is in a grand stile, 
 and it is executed in a slight, but spirited manner. In a 
 broad high way, in the middle of the print, a sports- 
 man approaches with a staff on his left shoulder, 
 leading a brace of greyhounds in a leash. Close 
 to the right is a large tree, on which two birds are 
 alighting. On an eminence on the left, are two 
 figures, one standing, the other sitting on the ground. 
 In the left corner are two ducks swimming. The 
 distance, which is not very remote, is terminated by 
 mountains, on the side of which, to the left, are some 
 magnificent buildings. At the foot of the mountains, 
 is a village, in which is a large church, with a spire 
 steeple. 
 
 C-— — 6 — 
 iio u j o 
 
 Of this there are t<wo impressions. 
 
 In the first , which is extremely rare , the house and barn to 
 the right of the two figures, are not inserted. 
 
 204 THE THREE TREES. 
 
 This is a very fine landscape ; known by this name, 
 because to the right on an eminence, is a singular 
 group of three trees ; through which, on a rising 
 ground, is perceived a waggon, full of peasants, part 
 of which is intercepted by the trunk of the right hand 
 tree, and some houses are likewise intercepted by the 
 trunk of the middle tree. In the left front, is a large 
 piece of water ; on the other side of it on a bank, 
 stands a man who is angling : a woman is sitting 
 near him. In the distance is a large town, with se- 
 
LANDSCAPES. 
 
 135 - 
 
 veral churches in it, and between the piece of water 
 and the town, are several groups of cattle and figures. 
 The sky is covered with dark clouds, and a shower of 
 rain is falling to the left. Beneath some water weeds 
 on the left, near the bottom, is written Rembrandt f. 
 1643. This piece is esteemed the best and most 
 finished of all the landscapes of Rembrandt ; it is 
 executed in a good stile, and produces a great effect. 
 
 A fine impression is very scarce. 
 
 8A0 — 11 
 
 205 THE PEASANT CARRYING THE MILK PAILS. 
 
 He is seen to the right, carrying two milk pails 
 with a yoke, and a dog running by him ; near the 
 middle is a road, and fronting it a cottage, and a 
 Dutch barn. On the left are some cottages nearly 
 surrounded with trees, and close to them a canal with 
 a boat upon it, fastened to the bank. T o the left 
 above the cottages, some mountains are discovered in 
 the distance. To the right the sea is seen, with se- 
 veral ships sailing. This landscape is highly finished 
 in a fine taste, and is very scarce. 
 
 6 _ 9 _ 
 
 ^lO u iO 
 
 There are two impressions of it. 
 
 In the first., which is extremely rare, the mountains on the left 
 side are not introduced ; and the canal is less shaded. 
 
 206 A LANDSCAPE LIGHTLY ETCHED, AND WASHED 
 WITH INDIAN INK. 
 
 In the front to the left, is a canal seen in perspec- 
 tive, and in the distance the sea ; near the middle on 
 the border of this canal, are two houses surrounded 
 with trees, the roofs of which are pretty high ; and 
 
136 
 
 LANDSCAPES. 
 
 on the top of the front of each is a large pole, which 
 
 forms a kind of pyramid. Close to the right is a 
 
 foot-path, at the end of which is a small figure seen 
 
 from behind ; and by the side of it are some trees, 
 
 and a church steeple seen above them. 
 
 2_ 1 , 6 _ 8 - 
 
 ^ I o w I o 
 
 This landscape is extremely rare , and the impressions of it, 
 as well as of the following, are washed with Indian ink, 
 so that they may readily be mistaken for drawings. It 
 is reported in Holland , that Rembrandt having said it 
 was easy to impose one of his prints upon a connois- 
 eur for a drawing, and being challenged to the at- 
 tempt, took this method to carry his point ; and he 
 succeeded so well, that these pieces were generally es- 
 teemed, and even purchased, as drawings; till their 
 being found in several collections gave occasion to 
 suspect them, when upon a close examination the 
 . secret was discovered. They must indeed have been 
 etched with an extremely light stroke, or the traces of 
 the point would have appeared through the washing. 
 
 In the collection of M. Van Leyden , there was an impres- 
 sion not washed with Indian ink. 
 
 207 THE COACH LANDSCAPE. 
 
 This landscape is likewise washed with Indian ink, 
 and is more rare than the preceding, and still more 
 like a drawing. It is a beautiful piece, and has a fine 
 effect. It derives its name from a coach that is tra- 
 velling along a road to the left, on which side are two 
 large cottages with trees growing by them ; a woman 
 is standing in the door of that nearest to the coach. To 
 the right is a winding canal, and above it some ruins, 
 
LANDSCAPES. 
 
 *37 
 
 with a cupola rising above a wood. In the distance is 
 a town with several churches in it, and four windmills. 
 
 2 -A 6-?- 
 
 *208 a landscape, unique. 
 
 In the front is a terrace, and in the middle of it a 
 path which turns a little to the right, and appears to 
 descend to the end of the terrace ; farther off to the 
 left is a mountain very steep, at the foot of which is 
 a river seen in front, and a covered vessel crossing it. 
 In the distance is a town, with some slight sketches of 
 trees. This piece may be considered as unique. It is 
 in the collection made by Beringhen for the king of 
 France , and is (like the two last) washed with Indian 
 ink . 
 
 6 -L *7 JL 
 
 U IO / I O 
 
 209 A VILLAGE NEAR A HIGH-ROAD, ARCHED. 
 
 This piece is carefully executed, and the effect is 
 extremely pleasing. It represents a view of a vil- 
 lage near a high-road. The principal cottages are 
 three on the right side, seen in perspective ; their 
 ridges are very high and sharp. There is a thick 
 clump of trees behind the first cottage, and in front 
 to the right is a great tree. Before the second cottage 
 is an old woman (probably a schoolmistress) with se- 
 veral children about her. Other cottages, with 
 trees, are distinguished in the distance. Towards the 
 bottom, in the left corner, is written Rembrandt f. 
 1650. 
 
 6ro — 8 
 
 Of this piece there are t-vjo impressions. 
 
138 LANDSCAPES. 
 
 In the first , which is very scarce , the shadowing before the 
 door of the first cottage is only a single stroke, instead 
 of being cross-etched, as in the second impression. 
 
 210 A VILLAGE WITH A SQUARE TOWER, ARCHED. 
 
 This piece is arched at the corners like the preced- 
 ing. It is the view of a village, executed in a good 
 stile. In the middle, on an eminence above the cot- 
 tages, is a square tower ; the road to it is planted on 
 each side with trees, and is carried over an arch, 
 through which the light appears. In the left corner 
 is a piece of water, with some railing continued from 
 it over a bank, to the right side of the print. On 
 the bank sits a woman with a child on her knee. In 
 the right corner at the bottom is written Rembrandt f. 
 1650. It is scarce. 
 
 jiO U J O 
 
 Of this there are two impressions. 
 
 In th e first, which is very scarce , all the right side towards 
 the top is less wrought upon than in the second, and the 
 effect is proportionably less. 
 
 21 1 A FARM-HOUSE, AND BARN. 
 
 This piece represents a farm-house with a large 
 barn, in front of which are three trees. At the cor- 
 ner of the barn stands a cart ; and behind a tree to the 
 right, is another. Nearer in front are some cattle 
 feeding ; and on a bank in the right corner, sits a 
 man, in a high crowned hat, drawing. This is a 
 good subject, and is well etched with a light stroke. 
 
 5 ~ 8 T 0 
 
LANDSCAPES. 
 
 139 
 
 212 THE SHEPHERD. 
 
 In the fore-ground is a well composed group, con- 
 sisting of a shepherd seen in profile, with a crook in 
 his hand, a woman seated near him with a child on her 
 knee, and a flock of sheep grazing by them. In the 
 rioht corner is a piece of water with a large tree on 
 the other side of it. The back-ground which is woody, 
 and gradually rising, terminates in a high hill or 
 mountain, on which are some large buildings. On 
 the left near the top is written Rembrandt f. 1644. 
 The plate not having been cleaned, the print is full of 
 scratches, and there is an outline of a circle that takes in 
 the breadth of the print. A fine impression is scarce. 
 
 3 t O 2 1 O 
 
 213 A LANDSCAPE OF AN IRREGULAR FORM. 
 
 In the middle of this print are some houses sur- 
 rounded with trees ; and in front of them, is a canal, 
 which leads to the right of the houses, and turning un- 
 der a wooden bridge, is again seen at the right corner , 
 where, on the border of it, stands a high tree. The 
 road goes over the canal, and in the distance is a vil- 
 lage with a church. On the left is a vessel under sail, 
 seen behind two small trees. This landscape is scarce. 
 It is of an irregular form, and measures at the right 
 end 3 T \ high, and at the left 3, by 8 A, wide. 
 
 There is a prior impression of this piece with the bur, 
 taken before the plate had been smoothed; in which 
 the shades appear deeper, resembling Indian ink, and 
 have a better effect than in the other. It is very scarce. 
 
140 
 
 LANDSCAPES. 
 
 14 A LANDSCAPE WITH A VISTA. 
 
 This landscape is executed in a very singular stile. 
 On the left side are two large trees etched with a coarse 
 broad stroke in the manner of a sketch. A thick 
 wood occupies three-fourths of the plate from left to 
 right. A little to the right of the large trees, a vista 
 is opened through the wood ; and in front of the wood, 
 near the middle, is a house with a flat roof. The front 
 from the left corner at the bottom, to the extremity on 
 the right is entirely white; and the distance on the 
 the right is only sketched with the single stroke. On 
 the same side near the bottom is written Rembrandt f. 
 1652. This print is very scarce . 
 
 4j 9 g- — 8, 3 o 
 
 Of this piece there are three impressions. 
 
 The Jirst , which is extremely rare , is an imperfect rude 
 sketch, in which only the house and the tops of some 
 trees on the left are discovered. It measures 6^ 
 
 b y 87%. 
 
 The second impression is very scarce. It is more in the 
 dark manner than the third impression, both which 
 measure 4^ by 8-Ay- 
 
 5 THE LANDSCAPE WITH, AND WITHOUT THE 
 POINTED TOWER. 
 
 On the right is a village interspersed with wood. 
 Near the middle of the piece is a gateway on a bridge, 
 supported behind with two buttresses ; and nearly in 
 front of it, the figure of a woman. To the right of 
 a large thatched building appear several irregular roofs, 
 and from among them rises a tower, which in the 
 
LANDSCAPES. 
 
 I 4 I 
 
 second impression appears to be in a ruinous state. 
 The sky on the left is cloudy, and clear on the right. 
 The front of the print is white. It is scarce. 
 
 4~rs — I2 t 5 o. 
 
 Of this piece there are t<wo impressions. 
 
 The first is extremely rare , and differs from the second, in 
 the shadows not being so much deepened, and the 
 tower being covered with a kind of dome or cupola, 
 terminating in a point. There are some slight scratches 
 on the ground on the left, and the plate is not cleaned ; 
 but having a little of the bur, and being spotty on the 
 fore-ground, the effect is much better. 
 
 l6 AN ARCHED LANDSCAPE WITH CATTLE. 
 
 This landscape is designed in a good taste ; it is 
 highly finished, and arched at the top. On the left is 
 a road leading to a village, along which a man is 
 driving a flock of sheep, a little farther on to the left 
 is a woman with two children, and behind them a 
 distance, which has the appearance of the sea. On 
 the right is a house, and a Dutch barn, inclosed with 
 paling, with clumps of trees on each side. Below 
 the barn is a meadow, in which a horse is rolling 
 himself on his back ; to the right are a few sheep 
 grazing, and higher up are two cows, one standing 
 and the other lying down. A town is perceived in 
 the right distance. In the road below the flock of 
 sheep is written Rembrandt f. 1636. This piece 
 is scarce. 
 
 6 - 9 - 
 
 jlO u I O 
 
 There are three impressions of it. 
 
14- 
 
 LANDSCAPES. 
 
 In the first which is extremely rare , there is no distance 
 marked behind the figures on the left. 
 
 The second has the distance inserted, and is very scarce. 
 
 In the third impression, the name and date are added. 
 
 217 A LARGE LANDSCAPE WITH A COTTAGE AND A 
 
 DUTCH BARN. 
 
 In the middle is a cottage with some trees growing 
 by the side of it, and at the end a Dutch barn with a 
 waggon standing in it. A peasant in the cottage is 
 opening the door-hatch, and a woman is seen at the 
 window. In front of the cottage is a wooden step or 
 platform, projecting into a piece of water. On it are 
 two children ; one of them, in a reclining posture, is 
 fishing. To the right is a woman going over a 
 wooden bridge, and a dog following her. On the 
 same side, in the distance, is a country seat surround- 
 ed with trees, and below it a piece of water, which 
 communicates with that in front. In the left dis- 
 tance is a large town. In the right corner at the bot- 
 tom is written Rembrandt f. 1641. This piece is de- 
 signed in a good stile, and is well finished. It is scarce. 
 5 * 2 
 
 218 AN ARCHED LANDSCAPE WITH AN OBELISK. 
 
 To the left is a pedestal supporting an obelisk, the 
 upper part of which is cut off by the top of the 
 print ; behind it appears a Dutch barn. To the right 
 is a village. The front cottage is large, and is thatch- 
 ed ; at the side of it are some low bushy trees, and in 
 front of it stands a wheelbarrow ; under the pent- 
 house is a cask on a stillage ; on the right in the fore- 
 
LANDSCAPES. 
 
 *43 
 
 ground a dog is drinking at a piece of water. This 
 piece is well executed, and is scarce. 
 
 I O 1 Q 
 
 The first impressions which are very scarce , have much of 
 the dark manner, which renders them less pleasing ; 
 and Rembrandt has given a proof of his judgment, by- 
 lightening the very deep shadows, and substituting 
 tints more uniform with the rest of the piece. 
 
 A VILLAGE WITH A CANAL. 
 
 This is a pleasing landscape, finely executed with a 
 light point. On the left are several cottages, and a 
 woman is seen walking towards them, followed by a 
 dog. To the right is a canal with a vessel under sail. 
 Beyond the canal is a village with a spire steeple rising 
 above some trees, to the right of it is a bridge 
 with several arches, and farther on is a high square 
 building. A man on horseback is travelling towards 
 the bridge. This piece is scarce. 
 
 C J BJL 
 
 5 I o 0 I O 
 
 220 A LANDSCAPE, UNIQUE. 
 
 In this piece, the back-ground is dirty, and the left 
 side is much less finished than the right. A clump of 
 trees appears on the side of a road. Another high 
 road is seen in front near the middle of the print, 
 which winds a little as it is carried back. The dis- 
 tance is so faint that scarcely any object in it is dis- 
 tinguishable ; but on the left, several small figures 
 are discovered before the high-road. 
 
 0 j? 8 - - 
 
144 
 
 LANDSCAPES. 
 
 221 AN ORCHARD WITH A BARN. 
 
 This piece is executed in a good stile. To the left 
 is a thatched barn. In the middle is a plantation of 
 trees in the manner of an orchard, and amongst them 
 a building is discernible. To the right, in the dis- 
 tance is a vista, with a man on horseback riding 
 through it. In the road leading to it, is a man tra- 
 velling, seen from behind, with a staff on his shoul- 
 der. This landscape is very scarce. 
 
 There are tnvo impressions of it. 
 
 The first impression before the plate was cut at each end, 
 is extremely rare. It measures 3^ by 8 Ay. 
 
 222 A LARGE LANDSCAPE, WITH A MILL SAIL SEEN 
 ABOVE A COTTAGE. 
 
 On the left are two large trees ; but the boundary 
 of the plate does not admit of their being carried up 
 above half their proper height. Behind the spreading 
 one, is a large thatched cottage, above which appears 
 the sail of a mill. The door of the cottage is open, 
 and a boy is standing within it, with a younger child 
 in a stooping posture before him. In front of the 
 cottage, a wooden platform projects into a canal or 
 river, that runs nearly across the print, and, meandring, 
 loses itself in the distance on the right, which is ter- 
 minated with a view of a village, in which a tower 
 steeple and a windmill are conspicuous objects. To 
 the right, on a bank near some water weeds, is a duck 
 pluming itself, and another on the water is swimming 
 
LANDSCAPES. 
 
 * 4 $ 
 
 towards it. On the bank is written Rembrandt/. 1641. 
 This piece is not common. 
 
 223 A GROTTO WITH A BROOK. 
 
 This piece represents a brook, that loses itself in a 
 grotto, at the foot of a mount. On the right, by the 
 side of the grotto, is a trunk of a tree, and on a board 
 that crosses it, is written Rembrandt 1645. To 
 left are some trees, but the tops are not seen, the 
 aqua-fortis not having succeeded ; the back-ground is 
 likewise spotty. This piece is very scarce. 
 
 5 — 5to • 
 
 There are two impressions of it. 
 
 In the fi rsty which is extremely rare , the inside of the grotto 
 is very dark ; and on the right side of it, the fore-part 
 of a boat is seen. This impression has a good effect, 
 but the plate was ill cleaned, and in doing it, the effect 
 was spoiled. 
 
 224 A COTTAGE WITH WHITE PALES. 
 
 This landscape is very well executed. In the mid- 
 dle of the print is a cottage, and at each end of it a 
 tree. This cottage is surrounded with white pales, 
 except on the back, which leads to a large piece of 
 water, on which two ducks are swimming. To the 
 right of the cottage is a waggon ; and on an eminence 
 above it are two dogs. In the left distance is a wind- 
 mill. At the bottom on the same side is written 
 Rembrandt f. 
 
 C J 6- ? - 
 
 JIO w I O 
 
 Of this piece there are two impressions. 
 
 In the first , which is extremely rare, y the eminence to the 
 K 
 
146 
 
 LANDSCAPES. 
 
 right of the windmill, and the water below it, are less 
 shadowed than in the second impression, which pro- 
 duces the best effect. 
 
 225 rembrandt’s father’s mill. 
 
 This piece represents the house in which Rembrandt 
 was born, together with his father’s mill, which is 
 placed on the left of the house. There is a wooden 
 stage round it. Two doors are in sight, and are con- 
 siderably above the stage ; a ladder is placed to each of 
 them, and a man, with a sack of corn on his back, 
 is just going to ascend that on the right. The house 
 is in a square form, the roof is nearly flat ; the sides 
 of the upper story which is in the roof, slope a little, 
 and are covered with tiles in the Dutch manner ; and 
 on each side is a dormer window. Beyond the mill 
 another house is seen. In the right hand corner 
 at the bottom is written Rembrandt f. 1641. This is 
 a rich composition, and very well executed, and is 
 scarce. 
 
 c J R — 
 
 JIO U I o 
 
 226 THE GOLDWEIGHER’s FIELD. 
 
 By the Goldweigher is meant Wtenbogardus the 
 banker, whose portrait is among the best and scarcest 
 in this catalogue. This print is a representation of 
 his villa. Near the middle is a mansion, with an ex- 
 tensive wood to the left of it, in which are discovered 
 some pavilions. To the right is a large church, on 
 the steeple of which a weathercock is fixed at a 
 considerable height. The church is nearly sur- 
 rounded with trees, and to the right of them, are 
 
LANDSCAPES. 
 
 r 47 
 
 three houses built together, and farther on, other 
 houses in the village are seen. In a field in front of 
 the three houses, are several figures with cattle. On 
 the left side is an octagon summer-house, with win- 
 dows on each side ; it is entirely surrounded with a 
 square piece of water, on which fowls are swim- 
 ming. In the distance, a large town is seen, with a 
 cathedral and other churches in it. In the left cor- 
 ner at the bottom is written Rembrandt 1651. This 
 piece exhibits such a multiplicity of objects, that but 
 little effect is produced. It is scarce. 
 
 4"To 1 2 y~o 
 
 TWO LANDSCAPES OF THE SAME SIZE. 
 
 These landscapes, when joined together, would 
 make one entire subject, if a corner of the wooden 
 bridge, which is cut off in one of them, was intro- 
 duced into the other. 
 
 In the first, a canal reaches from side to side of 
 the print ; on the left are two swans swimming, and 
 on the other side of it on the right, sit two persons 
 angling. In the front of the canal, a fore-ground 
 extends from the right, to the middle of the piece. In 
 the off-skip is a village, in which is a church with 
 a low tower steeple. In the distance is a mountain. 
 At the bottom near the water weeds, is written Rem- 
 brandt f. 1 650. 
 
 3*0 4 T o 
 
 In the second, the canal likewise reaches from 
 
148 
 
 LANDSCAPES. 
 
 one side of the print to the other ; a large boat fastened 
 to the fore-ground, takes up three fourths of it. On 
 the right is a great tree, and on the left a wooden 
 bridge crosses the canal. Above this, a continuation 
 of the mountain is introduced a little way into the 
 print ; over the foot of it in the distance, a spire steeple 
 is seen. In the middle of the print is a large square 
 tower. Towards the left at the bottom is written 
 Rembrandt f. 1650, but the d and the 6 are reversed. 
 These pieces are very scarce. 
 
 3 to- 4to 
 
 228 A LANDSCAPE WITH A COW DRINKING. 
 
 In front, a canal or river crosses the print, at which 
 to the right a cow is drinking ; a little on the left a boat 
 is fastened to the bank, and in it is a man stooping 
 down. Above are seen cottages, with trees before 
 them, and quite to the left is a rocky mountain. This 
 piece is lightly etched, and highly finished. 
 
 4to 1 5’ r5 ' 
 
 # 229 THE SAME AS NO. 210. 
 
 *230 the same as no. 339, where it is properly de- 
 scribed. What Helle and Glomy have called the trunk 
 of a tree of a singular form, is a head. So errone- 
 ously described, are some of those marked with an 
 asterisk. 
 
 *231 A LANDSCAPE, UNIQUE. 
 
 A little to the right is a small figure of a man ; and 
 in the distance, a church steeple and two windmills. 
 
 3-8 
 
LANDSCAPES. 
 
 149 
 
 *232 A LANDSCAPE. 
 
 In the middle is a large thatched cottage, and to the 
 left a river with a boat on it, only half of which ap- 
 pears. In the right corner are two high trees, with 
 some others smaller. This is a beautiful landscape, 
 and is extremely rare . 
 
 *233 A LANDSCAPE WITH A GREAT TREE IN THE 
 MIDDLE. 
 
 In this piece is a large tree, the foliage of which 
 is scratched in a coarse negligent manner, and is 
 very black ; before the tree a little to the right, are 
 two figures, a man and a woman, imperfectly sketched, 
 walking side by side ; in the back-ground to the left, 
 a house is discovered through some trees. The lower 
 part of this piece is not finished. It is in Beringhen's 
 collection made for the King of France , and may be 
 considered as unique . 
 
 U IO j l O 
 
 *234 A FARM HOUSE SURROUNDED WITH WHITE 
 PALES. 
 
 This landscape is in the collection made by 
 Beringhen , for the King of France , and being scarcely 
 to be found in any other, it may be regarded as pt^esque- 
 unique. 
 
 It represents a farm, almost covered with trees, and 
 surrounded with wooden pales that are pointed at top ; 
 within the door is a figure leaning against the side of it ; 
 t° the right is some water, with a wooden bridge ; and 
 above the water, part of a windmill is discovered. In 
 
LANDSCAPES. 
 
 150 
 
 the distance above the bridge in the high-road, are 
 three figures, two standing and one sitting. I his 
 piece is very faint, the aqua fortis having failed. 
 
 2 _? 6 ~~ 
 
 jio ^10 
 
 There is an impression, in which the door and figure are 
 not found. 
 
 *235 A LANDSCAPE, UNIQUE. 
 
 This piece is another of those collected by Beringhcn 
 for the King of France. 
 
 In front is a river, with two vessels under sail ; and 
 on the left is the stern of another vessel, on which a 
 man sits fishing. In the back-ground, on the other 
 side of the river, is a village, in the middle of which 
 is a very high windmill. The sky is foul, and looks 
 as if it had been smeared with Indian ink. 
 
 A r r_ 5 — 
 
 o i I © 
 
 *236 ANOTHER LANDSCAPE, PRESQUE-UNIQUE. 
 
 This landscape is likewise in the same collection. 
 It is hastily etched, and slightly washed to imitate a 
 a drawing. A canal crosses diagonally from the right 
 corner in front, to the left in the distance ; at the side 
 of this canal, and near the middle of the plate, is a 
 naked figure sitting down, and seen from behind. By 
 the side of this figure is a space, of about an inch 
 over, that seems to have been effaced, the aqua fortis 
 not having succeeded in that place. 
 
 3^o — 7 
 
 The editor of the former English catalogue has added another landscape, and 
 described it in No. 237, in consequence of which, his future numbers are 
 one higher than in Gersaint's ; but this landscape will be described in the 
 Appendix. 
 
X. PORTRAITS OF MEN. 
 
 A MAN IN AN ARBOUR. 
 
 He is sitting at a table in an arbour, his face is seen 
 in front, but his body is inclined to the left ; his beard 
 is short; his head is covered with the mezetincap; 
 he rests his left hand on the table, and appears to be 
 pointing at some object with his right. This piece is 
 etched with spirit, and is scarce. Under a stroke near 
 the top, on the left, is written Rembrandt f. 1642. 
 
 « J 2-- 
 
 ^IO ^ I O • 
 
 A YOUNG MAN SITTING IN A CHAIR. 
 
 The head of this young man is nearly in front, but 
 turned a little towards the right, and covered with a 
 bonnet. The body is turned to the left, and dressed 
 in a kind of jacket flowered ; his right hand rests on 
 his thigh, and his left is in his breast. Upon the 
 whole, this figure has much the appearance of a Scotch 
 Highlander . The back- ground is shaded nearly as 
 
 high as the top of the chair, and on the left, as high 
 as the date, which is 1650, and near the top. This 
 piece is extremely rare. 
 
 3 — 
 
J 5 a 
 
 PORTRAITS of MEN. 
 
 239 AN OLD MAN WITH A LARGE BEARD, AN UNFI- 
 
 NISHED PIECE. 
 
 The face is a three-quarters, and the head is co- 
 vered with the usual cap placed on one side ; his left 
 hand is raised to it, in the attitude of a person who is 
 saluting another. The cap is highly finished ; there 
 is no other drapery made out, except the shirt sleeve, 
 and some fur which covers the elbow. 
 
 5t% — 4t S o 
 
 240 BUST OF AN OLD MAN WITH A LONG BEARD. 
 
 The head is uncovered, and the hair stands up a little 
 on the crown ; the forehead is wrinkled. The face is 
 a three-quarters turned to the right, on which side the 
 light comes in, the breast is likewise light ; the atti- 
 tude is that of a man sitting and looking downwards. 
 The back-ground is shaded on the left as high as the 
 shoulder. On the right side, about an inch from the 
 bottom, is written Rt. 
 
 4i<? 4 i o 
 
 Of this there are three impressions. 
 
 The first impression is extremely rare , it measures by 
 4^ and was taken before the plate was cleaned. It is 
 spotty in several places as high as the neck of the old 
 man. 
 
 The second impression is 4-^ by 4-^ and it is dated 1631, 
 but that part of the plate on which the date was written, 
 was afterwards cut off, and in the third impression the 
 name Rt. only remains. 
 
 There is an excellent copy in the same direction as the 
 original. 
 
PORTRAITS of MEN. 
 
 *53 
 
 241 THE MAN WITH THE CRUCIFIX AND CHAIN. 
 
 The head is a three-quarters directed towards the 
 left, and covered with a calotte, or leathern cap ; the 
 hair hangs loose. Round the neck is a chain, at 
 which hangs a crucifix. He holds a pen in his right 
 hand, and a paper lies before him on which he is prepar 
 ing to write ; his left hand rests on a book. He has on 
 a rich dress, with a fine fur cloak thrown over his right 
 arm. This piece is finely executed ; the face and 
 hair are very delicately touched, nearly without shade. 
 The back-ground is dark. To the left, in a broad 
 margin of nearly an inch, is written Rembrandt f. 
 1641. 
 
 6 — 4 
 
 Of this there are two different impressions. 
 
 The first may be regarded as presque-unique. In it the 
 shirt neck does not appear, and the subject in general 
 is less wrought upon. 
 
 242 AN OLD MAN WITH A LARGE WHITE BEARD. 
 
 He is a half-length seen nearly in front, with a fur 
 cap on his head ; and his beard is white and long ; he 
 is sitting in an elbow chair, on an arm of which he 
 leans his right elbow, which throws the hand across 
 his breast, in a loose hanging posture. He is wrapped 
 in a great gown or cloak. On the left side is written 
 Rt . f. The back-ground is shaded as high as his 
 right elbow. This piece is very well executed. 
 
 5 to — Sto 
 
 There is a copy of it reversed, marked Rt. 
 
PORTRAITS of MEN. 
 
 *54 
 
 243 PORTRAIT OF A MAN WITH A SHORT BEARD. 
 
 This is a half-length, the body is directed towards 
 the right, but the face is turned so as to be seen in 
 front ; the beard is short and rough, the head is co- 
 vered with a fur cap, and the body with an embroidered 
 cloak. The back-ground is shaded on the left side 
 as high as the shoulder. 
 
 Of this there are four impressions. 
 
 The first is supposed to be unique ; it measures 6^% by 3^, 
 and as P. Tver only mentions it from hearsay, it may 
 be taken for granted, that it does not exist in Holland in 
 this state. 
 
 The second impression, which is extremely rare , has the 
 hand ; and it is very remarkable, that it appears to be 
 a left hand to a right arm. This is probably the rea- 
 son of its being taken out afterwards, though a few 
 strokes might have rectified the error, without the ne- 
 cessity of taking out the hand at all. The size of this 
 impression is 5 T 7 g. by 5^. It is less worked than the 
 posterior ones, the shades on the face and ear, not 
 being so deep ; and the character is a fine one of an 
 old man. Near the top left corner, is written Rt. 1631. 
 
 In the third impression, the plate is reduced to 4-^5. in 
 width, and the character of the face is altered. The 
 hand and arm are both taken out, and something is 
 substituted for the latter, that it is difficult to under- 
 stand. 
 
 In the fourth impression, the face is more altered : it has a 
 mean appearance, and not suitable to the dress he wears. 
 
PORTRAITS of MEN. 
 
 *55 
 
 244 ABRAHAM VANDER LINDEN. 
 
 This portrait is a half-length, well executed, and 
 produces a strong effect. Linden was a professor in 
 the university of Leyden , and is represented in his 
 robe, standing in a garden before a balustrade. He 
 has a neck-band broad and plain ; and the cuff at 
 his wrist is turned up in the same manner. He 
 holds a book which is shut, between the fingers of 
 his left hand. His face is a three-quarters, inclining 
 to the left. His hair is curled, and the head is unco- 
 vered. The back-ground consists of trees, except on 
 the left, where, above the balustrade, an arch in a 
 wall is seen, and above the wall the sky is visible. It 
 measures including a margin of 2 inches, 
 
 6-ro — 4 t‘o 
 
 Of this piece there are two impressions. 
 
 In the Jirst, which is scarce , at the bottom on the left is 
 a column formed of horizontal strokes. 
 
 245 AN OLD MAN IN A FUR CAP, DIVIDED IN THE 
 MIDDLE. 
 
 This portrait is lightly etched with great spirit. 
 The face is a three-quarters turned to the right ; the 
 beard large, round and bushy ; the head is covered 
 with a high fur cap, the top of which is fringed, and 
 divided in the middle ; this cap falls over his left eye, 
 arid discovers on the other side, part of a calotte 
 under it ; the whole of his right ear is seen, 
 with the hair about it frizled ; the body is seen in 
 front, and covered in part with a cloak, being open be- 
 
156 
 
 PORTRAITS of MEN. 
 
 fore ; his right hand is placed on a remarkably broad 
 girdle, that goes round the waist. There is a narrow 
 margin separated from the lower part of the portrait, 
 by some horizontal lines. The back-ground is lightly 
 shaded on the right, as high as the shoulder. In the 
 top left corner, is written Rembrandt f. 1640. 
 
 6- 1 c- s - 
 
 246 JANUS SILVIUS. 
 
 This is the portrait of a minister of Amsterdam < 
 The face is a three-quarters turned to the left, the 
 beard is rather long, but not bushy ; on the head is a 
 calotte, and round the neck a ruff. His garment is 
 bordered with fur ; his body is turned to the left, and 
 he is seated at a table, with a book on it lying open, 
 on which he rests his hands, which are placed one 
 above the other. In the back-ground is a large co- 
 lumn, and to the right of it a vault. On the left, 
 above the book is written Rembrandt 1643. This 
 piece is laboriously finished. 
 
 ^ro 5-ny 
 
 There is a copy of it reversed, with four Latin verses , 
 beginning — Silvias en Janus , £sV. 
 
 247 AN OLD MAN SITTING AT A TABLE. 
 
 This portrait is that of an old man bareheaded, with 
 a long beard, looking straight forward, and sitting at 
 a table ; his right hand has a pen in it, and rests upon 
 a book. ^ This print is unfinished, particularly on the 
 right side of it, which is only an outline. This piece 
 
PORTRAITS of MEN. 
 
 *57 
 
 may be considered as presque-unique. It was in the 
 collection of Houbraken, who parted with it to an 
 English amateur , with some other rarities. It was 
 originally in the Burgomaster Six's collection. 
 
 °To 1t<S 
 
 A YOUNG MAN MUSING. 
 
 This is a finished piece, executed in a good taste, 
 and has a fine effect. A young man is represented 
 sitting to the right ; his face, which is a three-quar- 
 ters, and his body, are turned to the left towards a 
 table, on which lie some books ; his hair is short and 
 straight, his head is covered with the mezetin cap, and 
 the body with a loose night gown turned up with fur ; 
 round his neck is a worked scarf, which hangs very 
 low before. The countenance is tranquil, and the 
 attitude that of study. At the top on the left, is 
 written Rembrandt f. 1637. The back-ground is 
 shaded on both sides, nearly as high as the shoulder. 
 
 3 A — 3 A 
 
 MANASSEH BEN ISRAEL. 
 
 This person is the Jeu> mentioned in No. 34. He 
 is seen in front, his beard is light, and even at the bot- 
 tom, his moustaches rather long, his hair short and 
 straight ; on his head is a hat with a broad brim, which 
 turns up before, so as to hide the top of the crown ; 
 a very broad cape or neck- band covers his shoulders, 
 and his cloak is open before. On the right is written 
 Rembrandt f, 1636. The back-ground is shaded a lit- 
 tle above the shoulder on the left. The plate is square 
 

 PORTRAITS of MEN. 
 
 at the top, but finished in an arch below, which 
 comes within •— of an inch of the bottom. 
 
 250 DOCTOR FAUSTUS. 
 
 The doctor is standing in his laboratory on the left 
 side, behind a table, on which he rests his right hand ; 
 and his left rests on an arm of his chair. His face is in 
 profile, he has a white cap on his head, and he is 
 looking with a fixed attention on some magic charac- 
 ters, which he sees in a mirror held out by a figure, 
 of which only the hands are discovered. These cha- 
 racters are placed in the middle of a casement. At 
 the right corner at the bottom is a globe, of which 
 only half is discovered. Behind him part of a curtain 
 is seen drawn on a rod, and near it a scull. By all 
 which it appears, that he was supposed to be an adept 
 in the mysteries of the Cabbala. This piece is highly 
 finished, and the chiaroscuro has a wonderful effect. 
 
 25I RENIER HANSLO, OR ANSLO. 
 
 Hanslo was an Anabaptist minister. He is repre- 
 sented sitting in an elbow chair behind a covered table, 
 on the middle of which is an ink-stand ; he holds a 
 pen in his right hand, which is supported on a book 
 that stands upright, and with his left he points to 
 another lying open, which rests against two more, one 
 lying on the other. His beard is dark and bushy ; he 
 has on a gown turned up with fur, a ruff round his 
 neck, and a broad brimmed hat. The back-ground 
 
PORTRAITS of MEN. 
 
 *59 
 
 is shaded with the double stroke, nearly as high as the 
 top of the chair on the left, and is lightly touched in 
 many places to give it the character of an inner wall ; 
 on the right is a nail driven into it. On the back of 
 a chair, above the three books, is written Rembrandt f. 
 1641, but the figure 4 is reversed. This is one of 
 Rembrandt's best portraits, and is very scarce ; it is 
 highly finished, and produces a fine effect. 
 
 Of this piece there are two impressions. 
 
 In the first , which is extremely rare , there is a white mar- 
 gin, the work not having been carried down so low as 
 in the ordinary impression. But as the plate is in exist- 
 ence, this additional work has been lately burnished 
 out, in order to deceive the unwary collector. The 
 difference is to be distinguished by the experienced 
 connoisseur only, as the plate looks well, and is fre- 
 quently printed on the thick Indian paper. 
 
 The best copies of Rembrandt's pieces, are said to have 
 been made by Xawery , and there is a fine copy of this 
 portrait, in the same direction as in the original, but 
 it is larger, measuring 7^ by 7 ; and when entire it is 
 higher, for the margin is generally cut off to favour 
 the deceit, having some Dutch verses in it, beginning — 
 Siet Ansloos Beeltenis, & c. 
 
 252 CLEMENT DE JONGE. 
 
 This is the portrait of a printseller ; he is repre- 
 sented a half-length in front, sitting in an elbow 
 chair ; his hair is short and straight, he has a 
 broad brimmed hat on, turned up at the sides, and 
 
i6o 
 
 PORTRAITS of MEN. 
 
 wears a cloak which is open before, and he has gloves 
 on ; his right arm rests on the elbow of the chair, which 
 raises the hand opposite to his breast, the other falling 
 on his left knee. The back-ground is etched on the 
 left side, as high as the hat, and on the right, as high 
 as the elbow. In the right corner at the bottom, in 
 all the impressions, is written Rembrandt f. 1651. 
 
 8 A 4 
 
 ° I O U 1 O 
 
 Of this piece there are Jive impressions, the three last are 
 arched within the plate. 
 
 In the first impression, which is extremely rare , the upper 
 bar of the chair is left white, the back-ground seen 
 under the bar is shaded, but the piece in general is less 
 worked upon. The face appears more expressive than 
 when higher finished. The upper part of the back- 
 ground is white. 
 
 In the second impression, which is very scare , the bar 
 of the chair is etched with the single stroke. The rest 
 remains as in the first impression. 
 
 In the third impression, which is scarce , an arch is intro- 
 duced within the square, with a few single etchings 
 under the right side of it. The face and hat are more 
 worked upon. 
 
 In the fourth impression, there is more shade under the 
 right of the arch introduced, and some etching across 
 the line of the arch on the left side. The body is 
 deeper etched with the double stroke, as is the back* 
 ground on the left, and the cloak in several parts, but 
 the face is lighter. The back-ground seen under the 
 bar of the chair is white. 
 
PORTRAITS of MEN. 
 
 161 
 
 In the fifth impression, the back-ground under the bar of 
 the chair is again shaded, but the shades of the body 
 are not so deep as in the last impression. 
 
 253 ABRAHAM FRANCE, OR FRANSZ. 
 
 This amateur had so strong a passion for prints, that, 
 as his circumstances were narrow, he frequently denied 
 himself the necessaries of life, that he might be able 
 to make a purchase that pleased him. 
 
 He is represented sitting in an elbow chair under a 
 window on the right, holding up a print which he is 
 viewing with great attention. In the early impressions 
 the head of a figure is distinctly seen through the pa- 
 per. His hair is dark, and he has moustaches. He is 
 dressed in a richly flowered coat, which has a cape 
 with tassels hanging from it. Before him is a large 
 table, on which a portfolio lies open, and on the table, 
 to the left is a scull, with two vases, and a small Chinese 
 figure sitting. On the wall in front, hangs an arched 
 - picture of the crucifixion, with folding doors open, 
 and a subject painted in the inside of each. On each 
 side of the crucifixion hangs another arched picture ; 
 that on the left side is a landscape, the subject of the 
 other is concealed from view by the arm and head 
 of France. This piece is full of work and is well 
 finished, and the chiaro-scure in some of the impres- 
 sions has a fine effect. It is scarce. 
 
 6^ — 8A 
 
 Of this portrait there are six impressions. 
 
 In the firsts which is extremely rare , there is a window 
 
 L 
 
6z 
 
 PORTRAITS of MEN. 
 
 curtain which is thrown back with its end over one 
 of the folding doors of the picture, and sun beams are 
 visible before the curtain. He is not sitting on a chair 
 as in the other impressions, but it may be supposed, on 
 a stool or bench, his left leg stretching out towards 
 the right corner of the print. His hair is light. 
 
 In the second impression, the curtain remains, but there 
 are no sun beams. The stool is altered to an elbow 
 chair. 
 
 In the third impression, the curtain is taken away. Two 
 vases are seen imperfectly, on the table near the Chi- 
 nese figure. The hair still remains light, and the trees 
 are not yet introduced. The right hand has still the 
 effect of holding the print, but in the remaining im- 
 pressions it has a different one. The three first impres- 
 sions are all of them extremely rare. 
 
 In the fourth impression which is very scarce , his hair is 
 dark; his right hand seems to rest upon the top of the 
 print, rather than to be holding it up as in the 
 former impressions. There are trees seen through the 
 window. The hat, which lies on a stool under the 
 window, is more distinctly seen than in any of the 
 other impressions. The shadow on the back-ground 
 above the table, is not massy as in the last and future 
 impressions, but is etched with little more shade than 
 in the other parts below the pictures, and the back- 
 ground above them is likewise lighter. 
 
 In the fifth impression, the shade above the table is very 
 dark, as is likewise the back-ground in the upper part, 
 and the print in general is more worked upon. 
 
 In the sixth impression, the print is still more highly 
 finished. 
 
PORTRAITS of MEN. 
 
 163 
 
 254 OLD HAARING, OR HARING, THE BURGOMASTER. 
 
 He is represented sitting in a chair in the middle of 
 the print, and is seen in front ; his elbows are supported 
 on the arms of the chair ; his left hand hangs down, 
 and his right is raised, and disposed as if he held a 
 pinch of snuff between his fingers and thumb. His 
 hair is white, and his head is covered with the calotte. 
 Two tassels hang from a broad band or cape, and the 
 linen at his sleeves is turned up in the like manner as 
 the cape ; both of his knees and the upper part of 
 the legs are seen. Above him is a casement with a 
 curtain drawn to the left side of it, which cuts off the 
 top corner of the window. There is a fine expression 
 in the face of this portrait, the composition of which 
 is in a masterly stile. It is scarce. 
 
 Of this piece there are two impressions. 
 
 The first impression, which is extremely rare , has the win- 
 dow quite square, and without the division in the 
 middle, and the window less worked. The curtain is 
 narrower at the top than at the bottom, and hangs 
 down in large folds, and the clothes are darker than 
 in the other impression. 
 
 In the second impression, the curtain is increased at the top 
 by additional drapery, which seems to be done with the 
 design of breaking the square form of the window, of 
 which it cuts off a part from the top diagonally. The 
 pillar, which divides the window in two, is now inserted, 
 and the drapery is lighter and more pleasing. 
 
 255 YOUNG HAARING, OR HARING. 
 
 He was the son of the Burgomaster. This piece is 
 
6 4 
 
 PORTRAITS of MEN. 
 
 executed in Rembrandt’s dark manner, and the chiaro- 
 scuro has a strong effect. The light comes through 
 the window, and falls full on his left cheek and band, 
 and the rest of the subject is kept down in shade. He 
 is sitting in an elbow chair, rather inclining towards 
 the left ; he rests both hands on the arms of the chair, 
 and holds his hat in his right hand. There is a curtain 
 rod that crosses the window, about one third from the 
 top of it, and the curtain is drawn to the right side. On 
 the lower row of the window panes, is written Rem- 
 brandt f. 1655, t ^ ie ^ is reversed. This portrait is 
 the same size as that of his father, viz. 
 
 7 to- 5to- 
 
 There are three impressions of it. 
 
 In the first , which is extremely rare , the curtain and rod 
 are not introduced, nor are the cuffs of his sleeves ; 
 and the whole is less wrought upon. The name and 
 date are likewise wanting. 
 
 In the second impression, the curtain and rod, and cuffs 
 of the sleeves are introduced, and this impression has 
 a fine effect, and is scarce .. 
 
 In the third impression, the plate is in general worn 
 lighter, and on the left side hangs an arched landscape, 
 the subject of which is a fisherman standing by his 
 boat, with a mast and sail across his shoulders ; on the 
 right is a large tree, and on the left beyond the watex*, 
 a windmill with a house. The plate has pi'obably fallen 
 into the hands of some print-dealer or artist, after it 
 has been much worn, who has made this alteration to 
 increase the number of impx'essions, the plate was af- 
 terwards reduced to 4 T 7 ff by 4. 
 
PORTRAITS of MEN. 
 
 165 
 
 256 JOHN LUTMA. 
 
 This person was a noted goldsmith of Groningen. 
 His portrait is one of Rembrandt' s best ; the expression 
 in the face is particularly spirited. He is sitting in 
 an elbow chair, with his arms resting upon it, and 
 holds something like a metal figure in his right hand ; 
 he has on a black velvet cap ; his hair is very short, 
 and his beard bushy. At his left elbow is a table, 
 on which lies a scollop, with a box of gravers and a 
 hammer. On the top corners of the chair, are two 
 grotesque heads. Above the table is written, (but ap- 
 parently not by Rembrandt) 'Joannes Lutma, aurifex 
 natus Groningce. To the right is a window, and in the 
 right corner of it, stands a water bottle. In the top 
 left corner of the window is written Rembrandt f 1 656. 
 
 7to — 5t ? o 
 
 Of this piece there zee four impressions. 
 
 In the first, which is extremely rare, the window and bottle are 
 not introduced, and the rest is in a very unfinished state. 
 
 In the second impression, which is very scarce , the window 
 and bottle are likewise wanting, but the rest of the 
 piece is highly worked on. 
 
 In the third impression, the window and bottle are added, 
 as likewise the names of Rembrandt and Lutma , and the 
 inscription. Fine impressions are scarce. 
 
 In the fourth impression, the plate is reduced in size, being 
 only 7-^. high, including a margin of a quarter of an 
 inch. This was in M. Van Leyden's collection, and 
 may be regarded as presque-unique. 
 
 257 ASSELYN OR CRABBETJE. 
 
 John Asselyn was a painter ; the name of Crabbetje was 
 
i66 
 
 PORTRAITS of MEN. 
 
 given him by the Bentivogli Society at Rome , on ac- 
 count, it is said, of a crookedness in his fingers. He 
 is represented a half-length standing, turned a little to 
 the left, his hair falls upon his neck ; on his head is a 
 high crowned hat turned up on the left side ; round his 
 neck is a band with tassels hanging from it. He wears 
 a cloak tied round the waist with a sash ; his left hand, 
 from which hangs a glove, is placed on his hip, and 
 his right hand has a glove on, and rests upon a table, 
 on which lies his pallet, with several portfolios. He 
 has ruffles at his hands. In the right corner at the 
 bottom, is written Rembr. A. B. with some figures that 
 cannot be made out. It measures, including a margin 
 i Vo broad, 
 
 8rV - 6 t V 
 
 Of this piece there are two impressions very different. 
 
 In the first , which is extremely rare , there is an easel stand- 
 ing behind him, with a large picture on it, on which 
 is painted some architecture ; and there are a few slight 
 etchings in the back-ground, to the left of the easel, 
 and above it. This impression has a fine effect. 
 
 In the second impression, the character of the face is al- 
 tered, and the easel and picture are wanting. There 
 are some loose etchings in the back-ground, in the 
 impressions that were first taken off, but they are 
 effaced in the common impressions. 
 
 258 EPHRAIM BONUS. 
 
 This person was a Jewish physician. He is repre- 
 sented coming down a staircase, with his right hand on 
 
PORTRAITS of MEN. 167 
 
 the balustrade ; his head is seen nearly in front, with 
 a high crowned hat on ; his hair is short and dark, 
 and he has a Jewish beard ; a short cloak covers his 
 left shoulder, under which the hand and arm are con- 
 cealed, and on the fore finger of his right hand is a 
 diamond ring. He has a band round his neck, and a 
 cuff at his sleeve. This piece is one of Rembrandt's 
 finest portraits ; the face is full of expression, and the 
 chiat o-scuro has a masterly effect. Towards tire bot- 
 tom at the right corner, is to be read (though with 
 difficulty) Rembrandt f. 1647. It is scarce, and mea- 
 sures, including a margin of Ito> 
 
 9to — 7 
 
 There is a prior impression, which may be considered as 
 presque-unique, wherein the fingers are less etched, and 
 the stone of the ring is dark ; the lower part of the fold 
 of his cloak is white, and the balustrade is less wrought 
 upon. This impression was in the collection of M. 
 Van Leyden. 
 
 2 59 WTENBOGARDUS, OR UYTENBOGAERT, A DUTCH 
 MINISTER. 
 
 This minister was of the sect of the Remonstrants, 
 and lived under the government of Prince Maurice , 
 whom he always opposed, and for some time success- 
 fully ; but was at length obliged to fly from the 
 Prince's resentment. This subject is executed in an 
 oval, squared at the bottom, in an irregular octagon 
 plate. He is sitting at a table in a gown faced with 
 fur ; he wears the calotte cap, and has a ruff round his 
 
i68 
 
 PORTRAITS of MEN. 
 
 neck. His hair is short, and appears to be turned 
 grey, the beard is likewise short and thick, his face is 
 nearly a full front, with the body turned a little to the 
 right ; his right hand is supported on the arm of the 
 chair ; in his left hand is a book open, which rests up- 
 on some others lying on the table, and farther back 
 are several other books thrown negligently one upon 
 another. Behind him is a pillar, and to the right of 
 it, an arch in the back-ground. On each side of the 
 print a curtain is drawn aside. This is a fine portrait, 
 highly finished, and produces a strong effect. In the 
 two angles at the top, is written Rembrandt f. 1635. 
 It is scarce. Under the print are the following Latin 
 verses by Grotius : 
 
 £>uem pia mirari plebes , quern castra solebant y 
 Damnare et mores aula coacta suos , 
 
 Jactatus multum , nec tantum fractus ab annis 
 wtenbogardus sic tutus , Haga redit. 
 
 H. Grotius. 
 
 8A-7A 
 
 There is a prior impression, which may be regarded as 
 prtsque-unique ; it was in the collection of M. Fun. Leyden. 
 The curtain on the right is wanting, and the plate 
 is less wrought upon in genex'al, yet the effect is 
 admirable. The Latin verses are not inserted. The 
 piece is rectangular, measuring 9^ by 7^. 
 
 260 JOHN CORNELIUS SYLVIUS. 
 
 Sylvius was a minister of great learning. This por- 
 trait is in an oval, round which is written, Spes mea 
 Christus, which was his motto, and Johannes Cornelii 
 
PORTRAITS of MEN. 
 
 169 
 
 Sylvius. Amstelodamo — bat : functus S . S . Minist : an - 
 nos 45 et 6. menses. In Frisia , in ‘Tyemarum et Phird - 
 gum annos 4. In Bale et Harich unicum. In Min - 
 nertsgae , annos 4* Slotis , annos 2. In Hollandia, 
 Slotis annos 6. Amstelodami, annos 28. 6. menses , 
 
 ibidefnq ; obiit anno 1638. 19. Novembr.natus annos 74. 
 At the bottom, in a broad margin, are the following 
 Latin verses : 
 
 Cw/wr adorandum docuit Facundia Christum, 
 
 Et populis veram pandit ad astr a viam y 
 
 I’alis erat Sylvt facies, audivimus ilium 
 Amsteliis isto civibus ore loqui. 
 
 Hoc Frisiis prcecepta dedit ; pietasq ; severo 
 Relligioq ; vindice tula stetit. 
 
 Prceluxit , vencranda suis virtutibus , 
 
 Erudytq ; /ma senecta viros. 
 
 Simplicitatis amans fucum contemsit honesti y 
 Nec sola voluit fronte placer e bonis. 
 
 Sic statuit : Jesum vita meliore doceri 
 Rcctius, et vocum fulmina posse minus. 
 
 Amstela, sis memor extincti , qui condidit urbem 
 Moribus, hanc ipso fulsiit ille Deo. 
 
 C. Barlceus. 
 
 Haud amplius dcproedico illius dotes , 
 
 g)uas oemulor , frustraque persequor versu. 
 
 P. S. 
 
 This is esteemed one of Rembrandt's best portraits. 
 It is very scarce, especially if a good impression ; 
 the etching is so tender that many could not be taken 
 
PORTRAITS of MEN. 
 
 170 
 
 oft before the plate was worn. The head, which 
 is nearly a full front, is finely executed ; it is covered 
 with a calotte, the hair and beard are white, the hair 
 is short, but the beard is long, divided in the middle, 
 and pointed ; round the neck is a ruff ; his gown is 
 faced with fur at the breast, and at the sleeves which 
 are short and open. I he fingers of his left hand are 
 placed in a book which is closed, and lies on a desk 
 before him. He stoops a little, and is addressing his 
 audience with his right hand, which projects in 
 front, and casts a shadow that extends beyond the 
 oval ; as likewise does the book, and the effect 
 thereby produced, is very singular and striking. 
 Behind him is a pillar, and on the left side a curtain 
 which is drawn up, and which likewise casts some little 
 shade beyond the oval. A square is described without 
 the oval. On the pillar near the top, is written 
 Rembrandt 1646. This piece is very scarce. The 
 plate measures 11 by 7^, but the oval only 7^ 
 by 6 r %. 
 
 26l WTENBOGARDUS OR UYTENBOGAERT THEBANKER. 
 
 This is likewise one of the finest and scarcest por- 
 traits in the collection. The composition, effect, and 
 execution, arc all in the best stile. In Holland it is 
 called the Goldweigher , and in France the Banker. 
 Wtenbogardus was Receiver-general to the states of 
 Holland. He is represented sitting in the counting 
 house. His face is seen nearly in front with mous- 
 taches ; his hair is short ; he has on a velvet cap. 
 
PORTRAITS of MEN. W 
 
 His head inclines a little over his right shouldei , which 
 gives great spirit to the attitude. His gown is turned 
 up before, and at the sleeves with fur. He holds a 
 a pen in his right hand, which rests on a large account- 
 book, that lies open on a desk standing on a table co- 
 vered with a richly flowered cloth, fringed at the bot- 
 tom, on which are several bags of money. He is de- 
 livering a bag to a man, who is kneeling on his left 
 knee, and appears to be receiving it in order to pack it in 
 a cask that stands before him, with the head off. Two 
 other casks lie on their sides, with a mallet and driver 
 lying upon one of them. On the left side is a laige 
 iron chest. Over the table is a shelf suspended from 
 the ceiling, on which lie several bundles of papers ; 
 and from it hangs a pair of scales, in one of which is 
 a bag of money. In the back-ground on the left, 
 stand two persons behind a door-hatch, as if waiting 
 to transact business. On the wall is a large arched 
 picture, which represents the history of the Brazen 
 Serpent ; to the right of it hangs a sword. This 
 piece is very scarce , and measures io by 8, including 
 a margin of. A of an inch > in which is written Rem ~ 
 branch f. 1639. 
 
 There are tvuo impressions of it. 
 
 In th t first, which is extremely rare , the face is blank, ex- 
 cept two or three strokes for the featuies. 
 
 The second impression is that which has been described 
 at large, and is very scarce. 
 
 There is a copy by Van Bruges which is reveised. 
 
*7* PORTRAITS of MEN. 
 
 There is likewise an excellent copy by Capt. Baillie , in the 
 came direction as the original, but the head is rather 
 more upright. 
 
 262 THE LITTLE COPPENOL. 
 
 Coppenol was a writing master in Holland , and this 
 print is called the Little Coppenol , to distinguish it 
 from another portrait of him that is larger, and will 
 be described in the next number. He is represented 
 a half-length sitting at a table, which is in the left 
 corner of the print ; his body is in profile, but his 
 face is seen nearly in front, being turned to speak to a 
 boy that stands behind him with his hat in his hand, 
 and he is striking an oval for his instruction. His 
 hair is very short, and he wears a calotte ; he has no 
 beard, but short moustaches ; his coat is turned up with 
 cuffs ; on the table lie several sheets of writing paper ; 
 Coppenol rests his left hand upon orre of them. Above 
 the table is a window, the upper corner only of which 
 is seen ; from this window the light proceeds, and not 
 from a candle that stands at the bottom of it. To 
 the right of the window hang jome mathemati- 
 cal instruments. This piece produces a strong effect 
 and is scarce. It is curious for the difference in the 
 impressions. The size, including a margin of an inch, is 
 
 lO T \ — 7 to 
 
 Of this print there are four impressions. 
 
 1 he first impression is extremely rare. It is before the mathe- 
 matical instruments were introduced ; and it has other 
 marks for ascertaining ts priority. The candle and 
 
PORTRAITS of MEN. 
 
 i73 
 
 candlestick are less worked than in the other impres- 
 sions, the lower part or plate of the candlestick, being 
 only outlined, without any shade on the under side ; 
 and the feather of the pen is white and shorter, with- 
 out a stroke of shade. This impression has the semi- 
 oval, which in Holland is called the Ox's Eye . 
 
 The second impression is likewise extremely rare. In it 
 the mathematical instruments are introduced, hanging 
 up near the window. On the wall is a large picture 
 with folding doors. The subject is the crucifixion, 
 with the Maries weeping at the foot of the cross. 
 Within the left folding door are seen some houses, but 
 the subject on the other is not readily to be made out. 
 The Ox's Eye is effaced. 
 
 In the third impression, which is very scarce , there is nei- 
 ther the picture nor the Ox's Eye , but that part of the 
 print is rudely etched. 
 
 In the fourth impression, which is scarce , the Ox's Eye is 
 again introduced, and the wall where the picture hung 
 is finished in a dark shade, and the figures are likewise 
 more finished. 
 
 263 THE GREAT COPPENOL. 
 
 This portrait is so called to distinguish it from the 
 preceding. It is esteemed as a capital piece of this 
 master ; the countenance is very expressive, and the 
 whole is highly finished. He is sitting before a table 
 turned to the right, but his face is nearly a full front ; 
 his head is covered with the calotte, his hair short and 
 white, with small moustaches , but no beard. He has 
 a large plain band round his neck ; his habit is a kind 
 
PORTRAITS of MEN. 
 
 * 7 + 
 
 of cassock, with very small buttons near together, and 
 with open cuffs at his sleeves. Over the cassock is a 
 gown or cloak open and falling back with a tassel at 
 the cape. He holds a blank paper with both hands, 
 and in his right hand is a pen. The plate was proba- 
 bly damaged, for it was cut to a size which takes in 
 little more than the head, measuring (including a 
 margin of half an inch) 6 by 5^. This reduced 
 plate is still in existence in France, and there are 
 good impressions of it, which shews that there were 
 not many taken off when entire, for the head is deli- 
 cately etched. Coppenol wrote some verses under the 
 entire print, as likewise under the smaller portraits of 
 himself. They are curiously written, and enhance 
 the value of those impressions on which they are found. 
 
 13T0 — li T 6 * 
 
 There are three impressions of it. 
 
 In the first , which may be regarded as presque-unique , the 
 back-ground is white, except a column behind Coppenol 
 on the left side. This impression has been sold for 
 fifty guineas ; and it has brought nearly that price at 
 several sales. 
 
 In the second, , which is extremely rare, the sleeves of his habit 
 are more shadowed ; the back-ground is covered with 
 etchings; the column is not seen, but a large curtain 
 is intioduced, which reaches nearly to the extremity on 
 both sides. 
 
 In the third impresson, which is very scarce, the back 
 ground is dark, the curtain more fully expressed, and 
 
PORTRAITS of MEN. 
 
 *75 
 
 in general the sleeves and the fore part of the habit are 
 more shadowed. P. Tver remarks that this impression, 
 though the most common , has sold for nearly ten pounds 
 in Holland. 
 
 This print has been copied in France. Cornelius Vischer has 
 also engraved the portrait of this writing master, but 
 although it is one of his best pieces, yet it is allowed 
 that there is more spirit and effect in that of Rembrandt's. 
 
 264 VAN TOL, THE ADVOCATE. 
 
 He is seated behind a table, in an elbow chair, in 
 the right corner of which is a grotesque head, but the 
 other corner has none. The frame is studded with 
 nails of different sizes. His face is nearly in front. 
 He wears a hat with a high crown and broad brim ; 
 the bottom of the crown is tied round with a cord. 
 His hair is very short, he has a long square beard 
 with hair on his upper lip. Both his arms are sup- 
 ported on the elbows of his chair ; in his right hand, 
 which he turns towards his body, is a pair of specta- 
 cles ; his left hand is shut, and rests on the corner of a 
 large book that lies before him upon another book and 
 some loose paper. He has a plain large neck band, 
 and wears a gown turned up with fur in front. In the 
 right corner are three bottles, in one of which is a re- 
 ceiver. These bottles are a symbol of chymistry, in 
 which Van ’Tol was a proficient. The back-ground 
 is shaded a little above the bottles, and-on the left side 
 higher than the top of the chair. This is a very fine 
 portrait, and is extremely rare , being found in very few 
 collections. It has been sold as high as fifty guineas. 
 
176 
 
 PORTRAITS of MEN. 
 
 It measures, including a margin of half an inch, 
 
 7-7 rJL 
 
 / 1 o JlO 
 
 There is a good copy executed in France , in the same di- 
 rection as the original. 
 
 265 THE Burgomaster six. 
 
 This celebrated portrait and the last, Van T ?/, are 
 the most valuable in this class. An impression of Van 
 To/ has been sold for fifty guiueas, and the same sum 
 has been given for a first impression of this portrait. 
 It must indeed be confessed, that besides its rarity, it 
 is one of Rembrandt’ s best performances ; the chiaro- 
 scuro is as finely preserved as in his best paintings. 
 The Burgomaster is represented a full-length, stand- 
 ing and leaning his back against a window, the 
 lower casement of which is open. He is reading 
 a quarto pamphlet, which he holds doubled in his 
 , hands. As the whole piece is illuminated from 
 the window, all the light that is thrown upon the 
 face is by reflection from the book. The manner, in 
 which Rembrandt has expressed the attention of his 
 friend and patron to the subject he is reading, is inimi- 
 table. His hair is full and bushy, waving gently 
 and gracefully to his shoulders ; his habit and neck 
 band are open before, with tassels hanging down, 
 and his cloak is thrown offbehind him, part of it lying 
 on the window frame, and part on a table, on which 
 lie his sword and belt. His cane stands on the table, 
 leaning against the wall, and over it hangs his hat, 
 with a short sword near the top of the cane. Above 
 the table is an historical picture, with a curtain drawn 
 
PORTRAITS of MEN. 
 
 07 
 
 before part of it. In the left corner, in front, stands a 
 chair with a cushion and three books on it, the uppermost 
 of which is open. On the right side of the window, a 
 curtain is drawn back in a festoon. Beneath the window, 
 the floor is raised a step, and the wall is covered with mat- 
 ting, which Gersaint mistakes for stone-work. In a nar- 
 fow margin of an eighth of an inch, is written to the right, 
 Rembrandt f. 1647, and on the left Jan Six JE, and a 
 
 little farther on, 29. This print is extremely rare. 
 
 ^ 6 M 6 
 
 9 1 o 7 1 o 
 
 There are two impressions of it. 
 
 In the first impression, which is a very great rarity, the 
 name and age of the Burgomaster, are wanting, and 
 ■the two middle figures in the date are reversed. 
 
 As Six was the particular friend of Rembrandt , it is not 
 surprising that he exerted all his abilities in finishing 
 this plate, which was the property of the Burgomaster 
 * himself, but whether as a purchase or a present is un- 
 certain. 
 
 M. Gersaint relates, that in one of his journeys to Holland , 
 he happened to be at Amsterdam when Six's cabinet 
 was selling. It consisted of a large collection of prints, 
 and some paintings by the best masters. He purchased 
 several prints, and among others, three or four por- 
 traits of the owner, for as there were twenty-five of 
 them, they sold for no more than from 15 to 18 florins 
 each. In 1750, it was purchased in Holland for an 
 English amateur , for 1 50 florins. At Mr. Baft’s sale, in 
 1756, it was sold for 34I. 13s. The estimation in which 
 a first impression is held at present, has already been 
 mentioned. 
 
 M 
 
1 7 8 PORTRAITS of MEN- 
 
 When Beringhen made his collection, he could not pro- 
 cure this print, though he would have spared np 
 expense to have pbtaiqed it ; he therefore consoled 
 himself with procuring a copy of it to be made with a 
 pen, and afterwards washed with Indian ink. This 
 copy passed with the rest of Beringhen ' > collection into 
 the King of France's cabinet, and is so well executed, 
 3s to have deceived several amateurs. 
 
 J 
 
XI. FANCY HEADS OF MEN. 
 
 266 Three oriental heads. 
 
 These heads are executed in the stile of Cas tig Hone. 
 The head of the first is a full front, shewing both 
 ears ; the body is turned a little to the left. On the 
 head is a calotte ; there is no hair seen but a single 
 tuft, which comes from under it down the middle of 
 the forehead ; he has moustaches ; the eyes are full 
 and staring. He wears a robe turned up with fur, and 
 adorned with a chain, at which hangs a medallion. 
 The back-ground is shaded with some loose irregular 
 hatchings on the left to the top, and on the right as 
 high as the ear. This piece is etched strongly, and 
 with spirit. Above the head is written Rembrandt ; 
 and the word Venetiis in singular characters, with the 
 date 1635 underneath. 
 
 5-ro —4i% 
 
 the second head is a profile turned to the left; 
 on the head is a rich turban, with fur at the top ; 
 his robe is also turned up with fur. His moustaches are 
 bristly ; the back-ground on the right is shaded with 
 
i8o 
 
 FANCY HEADS of MEN. 
 
 irregular hatchings nearly to the top. Above the head 
 is written Rembrandt Vencilh fecit, in the same man- 
 ner as in the former piece. The e in Rembrandt is 
 reversed. This piece is likewise a strong and spirited 
 etching. 
 
 JIO ^IO 
 
 the third oriental head is seen in profile, 
 turned to the right. He wears an embroidered tur- 
 ban, the ends of which hang down behind, and are 
 fringed ; in front is a feather. He has moustaches on 
 his upper lip, and his beard is long and black ; in- 
 deed the whole of the figure is etched in a particularly 
 strong and black stile. The back-ground is nearly 
 covered with loose hatchings, executed in a very sin- 
 gular manner. Near the top on the left, is written 
 Rembrandt (the e reversed) with Venetiis f, under it, 
 and beneath, 1635. This piece is extremely rare, be- 
 ing met with in very few collections. 
 
 There are copies of these three heads , executed by 
 Livens, who put his mark to them. These are the 
 heads from which it has been inferred that Rembrandt 
 was at Venice, and executed them there in the year 
 1635 ; but as there is no positive assertion of his ever 
 having been in Italy, whatever may have been his mo- 
 tive for marking these heads in the manner he has done, 
 it is more probable that he never was at V mice. 
 
 There is a copy of the third head executed in France , 
 and intended to deceive the unwary, and as the original 
 is extremely rare, there is not a ready means of detection. 
 
FANCY HEADS of MEN. 
 
 i8r 
 
 It can only be distinguished by the experienced con- 
 noisseur. 
 
 267 A YOUNG MAN IN A MEZETIN CAP. 
 
 This is a bust ; the hair is dark and reaches to the 
 shoulders, the beard is in the manner of that of a 
 Jew ; the face is nearly a profile, turned to the left ; 
 and the body is habited in a dark robe. In the back- 
 ground, there are a few single strokes on the right 
 side as high as the shoulder ; and on the left, opposite 
 to the mouth, is written Rt. 
 
 6-*_ r J_ 
 
 w I O 310 
 
 268 THE BUST OF AN OLD MAN WITH A LARGE 
 
 BEARD. 
 
 He is seen nearly in front, turned a little to the 
 left, with his head inclining, and his eyes almost shut, 
 as if going to sleep. His beard is long and square. 
 He has on a fur cap bound round with a scarf that 
 falls down behind his shoulders. His cloak is fastened 
 over the breast with a clasp, but the cape is open. 
 The back-ground is shaded on the left half way up- 
 ward, and with a few single strokes on the right side 
 opposite to the neck. Towards the top left corner, is 
 written Rembrandt. 
 
 Ats ““ 4t"o 
 
 269 THE BUST OF AN OLD MAN BALD-HEADED, WITH 
 
 A LONG BEARD. 
 
 The forepart of the head is bald, but on the crown 
 the hair stands up, and is frizled ; the beard is long, 
 and white ; the face is seen in front, and he is in a 
 
FANCY HEADS of MEN. 
 
 182, 
 
 stooping attitude; his body is turned a little to the 
 right, and covered with a gown turned up with fur ; 
 his right shoulder is not worked upon. 
 
 2 _~ — 2 —— 
 
 x I O ^ I o 
 
 270 TWO PROFILES OF A BALD-HEADED MAN. 
 
 These are supposed to be the head of Wtenbogardus 
 the minister, in profile. 
 
 The first is turned to the right. The head is 
 bald before, with short hair behind, and moustaches 
 on the upper lip and chin ; the eyes are turned a 
 little downward. He is covered with a fur gown. 
 The back-ground is almost light near the bottom, 
 but deeply shaded towards the upper part. Low down 
 on the right side, is written Rt. 1 630. 
 
 Of this piece there are four impressions. 
 
 The first impression, which is extremely rare , contains 
 only the head finished, and the upper part of the 
 shoulder lightly traced. The back-ground is white. 
 Towards the middle at the bottom, is written Rt. It 
 measures, including a margin, 4/3. by 3^. 
 
 The second impression is likewise extremely rare. He is 
 covered with a robe, bordered with ermine, and round 
 his neck hangs a chain, with the insignia of some order 
 hanging to it. The ground is white, as is the pre- 
 ceding, except a few strokes on the left, opposite the 
 shoulder. In the middle of the margin, is written Rt. 
 1630, and a little on one side, Rt. 163, the cypher be- 
 . . ing wanting. The size is the same as in the first impres- 
 
 sion, and the effect is jadmirable ; it is therefore to be 
 
FANCY HEADS of MEN. 
 
 183 
 
 fegretted, that Rembrandt reduced the size of the plate 
 to 2 t17 by 2-^ as it is in the third impression* Which 
 was first described; 
 
 The fourth impression is less than the third. 
 
 the second head is also seen in profile in the 
 same direction, but is more stooping ; the character 
 is the same. The back-ground is lightly shaded on 
 the right side as high as the chin ; and in the left 
 corner at the top is written Rt. 1630. 
 
 0-1 T— Z- 
 
 *10 A I o 
 
 Of this there are two impressions. 
 
 The first impression is without the name and date. It has 
 a better effect than the second impression, and is very 
 scarce ; 
 
 271 AN OLD MAN WITH A POINTED BEARD. 
 
 Gersaint thus describes this piece. The head is 
 larger than usual ; the face is a full front, and both 
 ears are seen. He is covered with a robe, of which 
 the end of the cape is white. The back-ground on the 
 left is shadowed with strokes, which increase from 
 the bottom to the top. 
 
 P. Tver looks upon this print as the work of Livens , and 
 says that it is but indifferently executed ; assuredly it is 
 not done by Rembrandt . 
 
 372 THE BUST OF AN OLD MAN IN AN OVAL. 
 
 This head is a profile turned to the right, with a 
 calotte on ; the beard is long arid white, the face is 
 likewise light ; there is a kind of double cape on the 
 
184 FANCY HEADS of MEN;" 
 
 shoulder. The back-ground on the right, is a little 
 shaded at the bottom. This bust is well executed, 
 and produces a good effect. 
 
 2ro — 2 to 
 
 This print has been copied by Capt. Baillie. 
 
 273 AN OLD MAN WITH A BALD HEAD. 
 
 This is a small bust. The face is a three-quarters, 
 turned towards the left, and looking downward ; the 
 head is bald before ; the beard bristly. The light 
 comes in on the right side, and the back-ground is a 
 little shaded on the left at the bottom. This piece is 
 executed with a light stroke. It is scarce, and a good 
 ' impression is very seldom to be found. It measures 
 I to square. 
 
 274 AN OLD MAN WITH A BEARD. - - ■ 
 
 Of this number it is believed there is no such print 
 ; by Rembrandt . Ger saint, however, thus describes it. 
 This is a bust very well executed, and is extremely 
 rare, The face is a three-quarters, turned to the 
 ; left ; the hair is curled, and a little bushy. He is 
 covered with a cloak which is light, as well as the 
 side of the head to the right. Near the top on the 
 ' left, is written Rt. 163.1, 
 
 . . 2- t_L 
 
 - * - 4 J O- 1 I 
 
 275 BUST OF A BALD OLD MAN WITH HIS MOUTH 
 
 . t , • . , - OPEN. . 1 v 
 
 The head, is entirely bald, and leans forward ; the 
 "" mouth is open, the beard is bristly, the body is turned 
 ^dhtle to the right, from whence the light comes in 
 
FANCY HEADS of MEN. 
 
 full upon the head, the nose, and his left shoulder. 
 In the left corner, near the top, is written Rt. 1631. 
 This piece has a strong effect. 
 
 o_7__ _ 2— — 
 
 *10 “IO 
 
 There are two impressions of it. 
 
 In the first impression, which produces the most agreeable 
 effect, and is very scarce , the whole is less wrought 
 upon, particularly on his left shoulder, where the folds 
 of the cloak are very lightly shaded with single strokes 
 above the margin. 
 
 In the secotid impression which is scarce , this shade is cross 
 hatched, and the whole is more worked, the teeth are 
 obliterated, and the ear is more defined. 
 
 276 BUST OF AN OLD MAN IN A VERY HIGH FUR 
 
 CAP. 
 
 This little bust is seen nearly in front stooping, 
 but rather inclined to the right, from whence the 
 light comes in. On the head is. a very high fur cap, 
 square at the top, and covering the eye brows. The 
 habit is double breasted, fastened with a button on the 
 left side. 
 
 T 7 - — J-i. 
 
 1 I O *10 
 
 277 BUST OF A MAN WITH A BEARD FROM EAR TO 
 
 EAR. 
 
 ■ The face is a three-quarters turned to the left, and 
 shadowed on the same side ; he has a Jewish beard, 
 very much curled ; his mouth is open, and he ap- 
 pears to be crying out. On the head is a cap, and 
 his shoulders are covered with a worked cloak. This 
 
FANCY HEADS of ME*J. 
 
 1 86 
 
 is one of the pieces from the leaf of Sketches N°. 332, 
 and is very scarce. 
 
 T A I_4_ 
 
 MO *IO 
 
 There are t-ivo impressions of it. 
 
 In the first impression, which Is extremely rare, the cloak is 
 not shadowed near the margin on the right side, and 
 on the left, there is a little white left on the breast. 
 
 In the second impression, the cap, face, and cloak, are 
 more wrought upon, and cross hatched, and the bot- 
 tom of the cloak, near the middle, is a little shaded 
 with the tingle stroke. 
 
 278 THE SLAVE WITH THE GREAT CAP. 
 
 This is another small bust ; the face is a three- 
 quarters, turned to the right over the shoulder, and 
 shaded on the same side. The cap is very high, the 
 contour waving, and it is turned up round the head, 
 it reaches the extremity of the plate on the right side. 
 The shoulders and breast are only traced. It is scarce , 
 
 and measures 1 A, by * at top, and nearly T % at the 
 bottom. 
 
 Of this piece there are two impressions. 
 
 In the first impression, which is very scarce, the shadow 
 on the right side of the cap does not reach to the top, 
 as it does m the second impression, in which the face 
 and neck are likewise deeper shaded, and that part of 
 the cap which is turned up is shaded, but in the first 
 impression it is light. 
 
 279 A TURKISH SLAVE. 
 
FANCY HEADS of MEN. 
 
 187. 
 
 and turned to the right. It is very lightly etched, and 
 shadowed only down the back. On the head is a cap 
 larger at the top than at the bottom ; he has mous- 
 taches, and wears a ruff longer before, than at the 
 side. This piece is one from the leaf of Sketches, 
 N°. 332, and is extremely rare. 
 
 T-i ?_ 
 
 1 I O IO 
 
 There are two impressions of it. 
 
 In the first , which is the most rare , only the top of the cloak 
 is shadowed, and the plate is not cleaned. 
 
 280 BUST OF A MAN SEEN IN FRONT IN A CAP. 
 
 The head is seen nearly in front, covered with a. 
 low cap, both ears are seen, particularly his left ; he 
 has thin moustache^ 5 his cloak is bordered with fur, 
 and open before, the light comes full on the upper 
 part of his left cheek, his forehead, and nose, and 
 catches on the breast. The back-ground is shaded, 
 though but lightly so about the head. This piece is 
 well executed with a strong effect. 
 
 3 — 
 
 There are four impressions of this piece. 
 
 The first may be regarded as unique , it was in the collection 
 of M. Fan Leyden. On the left side from the top to 
 the bottom, is a piece of architecture coming forwarder 
 than the figure, of which only the head is in a fi- 
 nished state, and the body but lightly sketched, and the 
 back-ground is white. There is a margin, but with- 
 out the name and date. It measures 3-^ by wide. 
 In the setond , which is presque -unique, the architecture re- 
 
i88 
 
 FANCY HEADS of MEN. 
 
 mains, and the bust is in a finished state, but the 
 back-ground remains white. In the margin is written 
 Rt. 1630. 
 
 In the third impression, the back-ground remains white, 
 but the architecture is wanting. It is extremely rare , 
 and measures 3-^. by 2-^. 
 
 In the fourth impression, the figure is more wrought upon, 
 and the back-ground is shaded. The plate is reduced 
 to 3 by 2 T 4 o- 
 
 281 BUST OF A MAN WITH CURLING HAIR RESEM- 
 
 BLING REMBRANDT. 
 
 The head is uncovered, the hair is curled, and 
 stands up on the crown, the under lip is thrust out ; 
 the body inclines a little to the right, but the head is 
 rather turned to the left over his right shoulder, his 
 forehead is knit up. His habit, which is open before, 
 is only sketched, except a little shade on the top of 
 his right shoulder, opposite to which are a few slight 
 scratches in the back-ground. The light comes in 
 from the right. This head resembles Rembrandt 
 more than several that are ranked in the class of 
 Portraits of him. 
 
 2— — 2 — 
 
 ^ i o x j o • 
 
 There is an impression of this print, where the face and 
 hair are covered with hatchings, and dark in all their 
 parts. The top left corner of the back-ground is dirty. 
 This is scarcer than the other, but the effect is not so 
 good. 
 
 282 PROFILE OF A BALD OLD MAN. 
 
 This is a fine head, lightly etched, and seen in pro- 
 
FANCY HEADS of MEN; 
 
 189 
 
 file turned to the right, bald before, but with a tuft 
 of hair behind that curls up ; his neck is wrapped 
 round with the fur cape of his garment ; his beard is 
 not long, but is bristly from the ear to the chin ; his 
 mouth is a little open ; the body from the cape down- 
 ward, is only sketched. There are some irregular 
 strokes as a design for the back-ground, besides a few 
 strokes opposite to the breast. 
 
 o JL, _ 2 ~ 
 
 ^10 ^10 
 
 There are tvoo impressions of this piece. 
 
 The first, which is very scarce , is somewhat larger, and 
 is taken off before the edges were polished. The ef- 
 fect is better than in the second impression. 
 
 283 BUST OF A MAN IN A FUR CAP STOOPING. 
 
 This is a bust of a man without a beard, turned to 
 the left ; the head, which is a three-quarters, is much 
 inclined, and covered with a small fui cap ; his cloak 
 is turned up with fur and open before. The back- 
 ground about the head is light, but there are some 
 loose hatchings in the top right corner ; and on the left 
 side from the top downward, opposite the mouth, 
 and from thence to the arm is a deep shade. Neat the 
 the top on the left is written Rt. 1631. 
 
 o ^ -1 oJL 
 
 ^ Tc 7 *10 
 
 The first impression, which is scarce, is less wrought up- 
 on, particularly in the head and cap. 
 
 284 PROFILE OF A BALD MAN COARSELY ETCHED. 
 
 This bust is executed in a hard coarse manner. 
 The head is seen in profile turned to the left, and bald 
 
190 
 
 FANCY HEADS of MEN. 
 
 past the crown, but there are some straight short hairs 
 behind. The light comes from the left. The back- 
 ground is deeply shaded with irregular cross hatchings 
 on the right side from the top downward opposite to 
 the neck, and on the left below the chin. This is 
 one of the scarcest pieces in this class. It measures, 
 including a margin at the top, and another at the 
 bottom of y % of an inch each, (both of which must 
 have been cut off when Gersaint measured it) 
 
 4^> — 2 T 7 g- 
 
 285 BUST OF A MAST SINGULARLY OUT-MOUTHED. 
 
 This head is seen nearly in profile, turned to the 
 left, and covered with a calotte, it is shaded on the 
 same side ; the beard is short, thick, and frizled. 
 His lips project very forward. He is covered with 
 a habit turned up with fur, and open before, and 
 round the neck is a cravat. The back-ground is 
 shadowed on the left, gradually diminishing toward 
 the top. This piece is lightly etched, and is scarce. 
 
 3 — 2 to- 
 
 286 AN OLD MAN WITH A LARGE WHITE BEARD, 
 
 This is a three-quarters and turned to the right, the 
 head is a little inclined ; it is bald before, with thin 
 hair standing up on the crown ; the body is covered 
 with a gown that appears to be made of a stuff with a 
 high knap ; the light falls full on the forehead, nose, 
 and beard, which is white, very long, and broad. The 
 back-ground is shaded a little on the left above the 
 shoulder. In the left corner at the top, is written 
 
FANCY HEADS of MEN. 
 
 191 
 
 Rt. 1630. This piece is boldly executed, with a 
 good effect. 
 
 3 t 8 o — 3^0 
 
 287 A YOUNG MAN A HALF-LENGTH. 
 
 This piece is very well executed with a light point. 
 The head is nearly a profile turned to the left, the 
 hair is rather short, thick, and a little frizled. 
 He wears a close habit bound round with a gir- 
 dle, with full sleeves, and a very broad worked cape. 
 Near the top is written Rembrandt f. 164. The last 
 figure of the date is wanting, and in the name, is an 
 e instead of the letter r. There are a few irregular 
 hatchings in the back-ground. 
 
 Q~~ — 2 — ~ 
 
 O 1 o ^io 
 
 288 A MAN WITH A BROAD BRIMMED HAT AND A 
 
 RUFF. 
 
 This bust is placed on the left, and turned to the 
 right. On the head, which is a three-quarters, is a 
 hat with a broad brim turned up before, round the 
 neck is a large ruff ; the habit is buttoned, and he 
 has moustaches. The light falls nearly in front. His 
 mouth is a little open, and the teeth are seen. At 
 the top to the left, is written Rt. 1630. 
 
 3to '■ 2-j'o' 
 
 289 BUST OF AN OLD MAN WITH A LARGE BEARD AND 
 
 FUR CAP. 
 
 This is a fine head, very lightly executed, and a 
 good impression is very scarce. The head is a little 
 turned to the left, and covered with a fur cap, the 
 light falls full on the right side, the beard is very 
 
FANCY HEADS of MEN. 
 
 jgz 
 
 broad, white, and long. At the bottom on the left 
 side, there is a light shade in the back-ground. 
 
 2 —- 2 — — 
 
 •* i o • 4 i o 
 
 2 gO AN OLD MAN IN A RICH VELVET CAP. 
 
 This piece is one of the finest and most finished 
 that Rembrandt has produced. The head is a three- 
 quarters turned to the right side, and covered with a 
 velvet mezetin cap, ornamented with a rich band that 
 goes over the top of it, and is fastened in front with a 
 clasp. His garment, which is turned up with fur, 
 forms many folds on the top of the shoulder. His left 
 hand is seen, and appears to rest on the head of his 
 cane. His beard is long, and very bushy, and reaches 
 up to the ears. The light comes in on the right side. 
 In the top left corner is written Rembrandt f. 1637. 
 
 291 AN OLD MAN WITH A SQUARE BEARD. 
 
 This piece is coarsely etched in Rembrandt's first 
 manner, and is deemed a rarity . The head is a three- 
 quarters turned to the right, and shadowed on the op- 
 posite side ; it is covered with a very singular coarse 
 cap, the eyes are turned downward, and the habit is 
 bordered with fur. T he back-ground is only slightly 
 shaded above his right shoulder. At the top is writ- 
 ten Rt. 
 
 3 — 2ro 
 
 Of this there are two impressions. 
 
 The fi>st is presque-unique , and is little more than a sketch, 
 It ( measures 3^ by 2-^. 
 
 292 BUST OF AN OLD MAN WITH A VERY LARGE BEARD. 
 
 The body is a little turned to the right, but 
 
FANCY HEADS of MEN. 
 
 *93 
 
 the face, which is a three-quarters, is inclined to the 
 left, which is the shadowed side ; the beard is very 
 long and broad, the forepart of the head is bald, but 
 on the crown the hair stands up frizled, the eyes look 
 downward, the shoulders are covered with -a plain 
 cloak. There is a little shade in the back-ground, on 
 the left side, above the shoulder. In the corner above 
 it, is written Rl 1631. It is lightly etched. 
 
 o _ 6 
 
 ^ I O' * l O 
 
 Of this piece there are t-ivo impressions. 
 
 In the first impression, which is very scarce , there is nei- 
 ther name nor date ; it is also less wrought, particularly 
 in the shade of the face, his right shoulder, and the 
 shade in the back-ground • above it, and in the hair 
 about his left ear. 
 
 There is a copy of this print, reversed, which is well exe- 
 cuted. „ , ■ 
 
 293 A PORTRAIT RESEMBLING REMBRANDT IN A ME- 
 
 ZETIN CAP. 
 
 This bust, which is executed with taste, and resem- 
 bles Rethbrandt,is by some thought to be the same 
 as N°. 12. The body is turned to the right; the 
 face is nearly seen in front, but inclines a little to the 
 left ; on the head is the mezetin cap which falls on 
 the top of his right ear, the hair is frizled, the mouth 
 is a little drawn up, and he has moustaches. Under 
 a cloak, which is ornamented about the shoulders, ap- 
 pears a kind of doublet, which is open near the top, 
 where it is fastened with a string. The light comes 
 in on the right side, and the back-ground receives the 
 
 N 
 
194 
 
 FANCY HEADS of MEN. * 
 
 shadow of the figure on the left. In some impressions, 
 high up on the left, is written Rembr andt , but not 
 by himfelf. It measures, including a margin of nearly 
 half an inch, 3 X ~ — 2 T V« 
 
 There is a copy of this piece reversed. 
 
 294 A FULL FACE LAUGHING. 
 
 This piece is finely executed, in a good taste, and 
 full of expression. The body is turned to the right, 
 but the face is a full front ; the head is covered with a 
 a calotte on the crown, but the hair, which is curled, 
 is seen over the forehead, as well as on each side of 
 the face. By the contraction of the risible muscles, 
 the upper teeth are discovered. His habit is buttoned, 
 and round his neck is a cravat untied, one end of 
 which hangs over the top of his garment before, and 
 the other end falls behind him over his right shoulder. 
 The light comes in on the right side, and in the back- 
 ground on the left, are a few single strokes above the 
 shoulder. Near the top on the left is written Rt. 
 1 630. It is scarce . 
 
 2 — — i JL 
 
 * *IO 
 
 Of this piece there are t<wo impressions. 
 
 The first impression, which is ’very scarce , is less wrought 
 upon than the second. 
 
 There is a copy of this reversed, if not two ; for one of 
 them is very spirited, and has been pronounced by 
 good judges, to be at least equal in appearance of ori- 
 ginality, to that which has been described, and the cha- 
 racter is as well or better expressed. It is the same size, 
 but is without the calotte, though some marks remain, 
 which shew there was an intention of introducing it. 
 
FANCY HEADS of MEN. 
 
 *95 
 
 295 PROFILE OF A MAN WITH A SHORT THICK BEARD. 
 
 This piece is etched with a broad stroke, and the 
 shadows are deep ; it is a bust turned to the right from 
 whence comes the light, and the face is near that edge 
 of the plate ; he wears a cap, his hair is very short, 
 and his beard short, thick, and pointed. There is a 
 little shade in the back-ground behind him, and his 
 habit is turned back, and forms a sort of cape over the 
 shoulders. Near the top on the left, is written Rt. 
 1631. This print is extremely rare. 
 
 T_? T_L 
 
 *IO * I? 
 
 296 A PHILOSOPHER WITH A HOUR-GLASS. 
 
 This piece is coarsely etched in the manner of a 
 wood cut, and produces a very great effect. He is 
 sitting in front, leaning his left arm and hand on a 
 table, his garment is bordered with fur. The head is 
 nearly a profile turned to the right, covered with a 
 large high fur cap, wider at the top than at the 
 bottom. It has a flap covering the ear, with a string 
 and tassel hanging from it. His beard is white, long, 
 broad, and jaggy. On the right side is an hour- 
 glass, with a death’s head behind it ; a curtain hangs 
 down behind him, and the back-ground is shaded with 
 the single stroke at the top, from the curtain to the 
 right side. Near the top to the left is written Rt. 
 1630. This piece is very scarce. 
 
 2 — 2 
 
 I o * 
 
 There are three impressions of it. 
 
 In the first, which is extremely rare , the beard is whiter 
 by being less finished, and the character of the face 
 
196 
 
 FANCY HEADS of MEN. 
 
 differs a little. The fur of his garment, which is be- 
 hind his netk, is also coarser, and so is the rest of the 
 garment, nor is the hand so well executed as in the 
 other impressions, but the effect is stronger. 
 
 The second impression is more wrought upon. 
 
 The third impression is still more so, and has the name 
 and date. 
 
 297 BUST OF A MAN RESEMBLING REMBRANDT. 
 
 The French call this bust, Homme avec trois crocs. 
 It is a head of Rembrandt executed with spirit, seen 
 nearly in front, but rather inclined to the right ; he 
 wears the usual cap, his hair is curled, and he has 
 moustaches , his cloak is turned up with fur, and his 
 neck is bare. The light comes from the right. 
 
 2 — Its- 
 
 Of this there are two impressions. 
 
 In the firsts which is scarce , the cloak towards the left cor- 
 ner, is less wrought upon than in the second impression. 
 
 298 THE HEAD WITH THE MUTILATED CAP. 
 
 This head likewise resembles Rembrandt. The 
 cap is of the usual sort, but the top of it is cut off by 
 the boundary of the plate ; the body, which is only 
 sketched, is turned to the left, from whence the light 
 comes in ; the head, which looks upward, is turned 
 to the right, and is nearly a full face. The counte- 
 nance, and particularly the expression of the eyes, is 
 that of a person seized with terror. He has thin 
 moustaches , and his mouth is a little open. The 
 back-ground is very lightly shaded on the left, from 
 the bottom half way upward. This head is etched 
 
FANCY HEADS of MEN. 
 
 l 97 
 
 with spirit. On the breast is written Rt. and the 
 
 date, which is 1630, but it cannot be easily made out. 
 
 2 — *■ I— — 
 
 * Mo 
 
 In Marcus's catalogue, mention is made of a very scarce 
 impression, which is of an inch larger, than that 
 which is described. 
 
 299 A MAN WITH MOUSTACHES IN A HIGH CAP SIT- 
 
 TING. 
 
 This is a three-quarters portrait of a man sitting, 
 and the upper part of the chair is seen. The face is a 
 three-quarters turned to the right, with moustaches ; 
 the eyes are wide open ; on the head is a very large 
 high cap, which finishes at the bottom with a kind of 
 bandage ; he has a cloak on, turned up with white fur. 
 In the back-ground above the chair is a light shade, 
 which gradually diminishes towards the top ; above it, 
 near the corner, is written Rt. 1630. This piece is 
 well executed. It measures 4 — 3^ at the top, and 
 is a little wider at the bottom, and rather longer 
 on the right side than on the left. 
 
 Of this piece there are t-ivo impressions. 
 
 The first impression is very scarce. It measures 4^. by 
 nearly 3^ at the top, and full 3^ at the bottom. It 
 was afterwards reduced at the top, and on the right side. 
 
 300 BUST OF A MAN IN A CAP, ONE OF REMBRANDT’S 
 
 FIRST PERFORMANCES. 
 
 The head is seen in front, covered with a cap that 
 is waved at the top and sides ; the hair is very much 
 frizled, the cloak, which turns back before, is jagged on 
 the edges, the back-ground is shaded on the left side 
 
198 
 
 FANCY HEADS of MEN. 
 
 as high as the cheek. The right side of the bust is 
 clear, but the cap, face, and cloak, aie very deeply 
 shaded on the left, the whole is coarsely etched, and 
 appears to be one of Rembrandt’s first performances, 
 and is one of his scarcest prints. It measures, includ- 
 ing a narrow margin, 
 
 Of this piece there are three impressions. 
 
 The first impression, which is not mentioned by Gersaint , 
 nor in the supplement, is presque-unique. In it the 
 shadows are not uncommonly deep, the whole being 
 less wrought. On the left, opposite to the cap, is writ- 
 ten Rt. 
 
 The second impression is extremely rare , the shadows are 
 very dark in the figure, and that in the back-ground 
 is somewhat deeper. 
 
 The third impression is very scarce , it measures 2. by i - j ? 5 
 the mark Rt. is cut off, and the plate is diminished 
 every way. It is more finished in the jagged edges of 
 the cloak. 
 
 301 THE man’s HEAD WITH THE CAP AND STAY. 
 
 This is a profile turned to the left, and shadowed 
 on the same side. The cap is somewhat pointed be- 
 fore, and has ear-pieces that are fastened under the 
 chin with a stay ; the shoulders are covered with a 
 cloak that has a very broad cape, and at the neck is a 
 ruff ; the beard is short and bristly ; in the back- 
 ground opposite to the breast, are a few single strokes. 
 The etching of this piece is coarse and hard, but spi- 
 rited. It is extremely rare. 
 
FANCY HEADS of MEN. 
 
 199 
 
 302 BUST OF A MAN BALD-HEADED. 
 
 The face is a three-quarters, turned to the right, 
 on which side the light comes in, the head is bald, ex- 
 cept a few short hairs that are perceived above the ear ; 
 he wears a cloak faced with broad fur. All the right 
 side of the back-ground is shaded, and the bottom of 
 the left. In the top left corner is written Rt. 1631. 
 A good impression of this piece has a fine effect, but 
 is seldom to be found. 
 
 Of this print there are two impressions. 
 
 In th z. firsts which is very scarce, the head and the cloak to- 
 wards the shoulder are less wrought, and the neck still 
 less. 
 
 303 AN OLD MAN SLEEPING. 
 
 This piece is one of Rembrandt's best productions. 
 In point of composition, expression, finishing, and 
 effect, it is carried to great perfection . The head is 
 seen in front supported on his left hand, and both arms 
 rest upon a book that is open ; a pair of spectacles 
 ’ hang on the fore-finger of his right hand ; the cap is 
 very singular, lying upon his head in three heights of 
 wreaths, with a pointed finishing at the top ; the 
 shoulders are covered with a mantelet of fur. The 
 light comes in on the left side ; the back-ground is 
 darkly shaded on the left, but lighter on the right. 
 It is scarce. 
 
200 
 
 FANCY HEADS of MEN. 
 
 There is a very good copy of this print of the same size,*- 
 and in the same direction. 
 
 304 AN OLD MAN WITH A VERY LARGE BEARD. 
 
 This bust is a little turned to the right, from whence 
 the light comes in, falling upon the forehead and the 
 top of his left shoulder ; the head is inclined, bald a 
 little in front, but covered with frizled hair on the 
 crown ; the beard is very long and broad. There is 
 a little shade in the back-ground above his right 
 shoulder. Near the top, on the left, is written Rt. 
 1630, but this is wanting in some impressions. 
 
 Sr% — 3 
 
 305 A GROTESQUE HEAD IN A HIGH FUR CAP. 
 
 This is a profile turned to the right, and shaded 
 on the left, the nose is turned up and flat at the end ; 
 the head is covered with a high fur cap waved at tne 
 top and both sides, and bound round with a crossed 
 bandage. It is arched at the top, the arch springing 
 from the bottom of the plate. It is scarce. 
 
 Ito — I 
 
 There are /wo impressions. 
 
 The first, which is <very scarce , is less wrought upon iu 
 every part. 
 
 306 ANOTHER GROTESQUE HEAD WITH THE MOUTH 
 
 OPEN. 
 
 This little head, though coarsely etched, is full of 
 spirit. It appears to be that of a beggar covered with 
 a small cap ending in a point ; the eyes are shut, and 
 the mouth is open like that of a man in pain crying 
 
FANCY HEADS of MEN. 
 
 201 
 
 out very loud. The face is a three-quarters turned 
 to the right, from whence the light comes in, the 
 beard reaches from ear to ear and is bristly, the habit, 
 which is only sketched before, is fastened with a but- 
 ton on the left side, and turned back at the neck. It 
 is scarce . 
 
 t I— — 
 
 1 I O MO 
 
 Of this there are two impressions. 
 
 In the first , which is very scarce , there are not so many 
 cross hatchings on his right shoulder. 
 
 * 307 A MAN PAINTING. 
 
 This is a half-length, in Rembrandt’s dark man- 
 ner, representing a man painting. It is extremely 
 rare. 
 
 o 7 o— — 
 
 ** 1 o *10 
 
 * 308 AN OLD man’s HEAD. 
 
 This head is covered with a hat with a conical 
 crown. Behind it is a head without a beard, in a flat 
 hat. It is not quite finished, and is extremely rare. 
 This piece is probably part of the leaf of sketches, 
 N°. 335 ; the description and the size warrant the 
 opinion. 
 
 2_L oA. 
 
 *10 ^ I O 
 
 * 309 PORTRAIT OF AN OFFICER. 
 
 He wears a mezetin cap and feather, with a gorget. 
 The face is a three-quarters with moustaches , turned 
 to the left, the light comes in on the right side, the 
 hair is curled and falls down on the shoulders, both 
 his hands are supported on the hilt of his sword. The 
 back-ground is covered with irregular hatchings. To- 
 
S02 
 
 FANCY HEADS of MEN. 
 
 wards the top is written Remb. fe. 1642, as likewise 
 Bol, by whom it is supposed to be executed. The 
 figures 6 and 2 are reversed. 
 
 5 1 o 4 to 
 
 * 310 A YOUNG MAN SLEEPING. 
 
 This piece represents a young man sleeping under a 
 kind of arcade, which is very ill expressed. The 
 head is nearly a three-quarters, the left of the face is 
 in shade, and the profile shadow of the face is seen in 
 the back-ground on the right side of the print. This 
 piece is extremely rare. It is in the collection which 
 Beringben made for the King of France , but is thought 
 by judges not to be the work of Rembrandt. 
 
XII. PORTRAITS OF WOMEN. 
 
 The great Jewish bride. 
 
 This is a fine portrait highly finished. The bride 
 is sitting in an elbow chair, her face is a three-quar- 
 ters turned to the left ; her hair is long, flowing over 
 her shoulders down to her waist ; her head, round 
 which is a string of pearls, is uncovered, according to 
 the custom in Holland , among the Jewish women 
 when they go to be married ; she rests her right 
 hand on the end of the elbow of the chair in which 
 she is sitting, and in her left, she holds a scroll of 
 paper. She has a kind of toilet gown over her 
 other apparel. Close by her right hand is a table, 
 on which lie several bundles of papers and books. 
 The back-ground consists of stone-work ; on the left 
 side is an arch. On the cloth which covers the table, 
 is the letter R reversed. 
 
 8_7 6 -- 
 
 U 1 O W I o 
 
 Of this piece there are three impressions. 
 
 In the first impression, which is extremely rare , the lower 
 part of the plate, for the space of two inches and three 
 quarters on the right side, and three inches and a half 
 
204 
 
 PORTRAITS of WOMEN. 
 
 on the left, is white, being entirely unwronghtupon, ex- 
 cept where the ends of the hair reach into it. The face, 
 hair, and back-ground, appear to be in the state in which 
 they first came off the plate ; the reflection from the 
 figure on the back-ground, is higher than in the finished 
 plate, being on a level with the top of the head ; the 
 stone-work to the right of the arch is different. 
 
 In the second impression, which is called in Holland , the 
 Great Jewish Bride with the white sleeve , the hands 
 and the toilet gown are white. This impression is 
 very scarec. 
 
 The third impression is the finished plate which was first 
 described. 
 
 312 SAINT CATHARINE. 
 
 This figure, which is usually called thp Little 
 Jewish Bricle , is a half-length standing. Her face, 
 which is a three-quarters turned to the right, is 
 pleasing ; her hair is long, covering her back and 
 shoulders, and her head is bound round with a string 
 of pearls. She is in a night gown with wide sleeves ; 
 the gown is fastened close under the chin ; her hands 
 are joined together. At the bottom to the right is 
 seen part of a wheel, such as is generally assigned to the 
 representations of St. Catharine , and at the top, on the 
 same side, is written backward Rembrandt f. 1638. 
 This piece is finely etched with a light point. 
 
 4tcT 3t o 
 
 313 TWO PORTRAITS OF OLD WOMEN. 
 
 These pieces are companions, and resemble Rem- 
 brandt's mother. The disposition of the portraits is 
 
PORTRAITS of WOMEN. 
 
 205 
 
 the same, but reversed. The body of the first is di- 
 rected to the right, the face is a three-quarters, very 
 finely finished, the countenance is remarkably placid. 
 She is sitting in an elbow chair at a round table, only 
 part of which is seen ; her hands are crossed and 
 placed before her, she wears a close cap, and over her 
 head is a loose black veil, and on her shoulders a man- 
 telet of fur. The back-ground is shaded on the left 
 from the bottom, as high as her elbow, and immedi- 
 ately above it is written Rt. f. 
 
 Sto — St* 
 
 Of this piece there are three impressions. 
 
 The first impression is 'very scarce ; it is clearer than the 
 others ; the nose is smaller, and it is without the 
 strong mark under her left eye. 
 
 The second impression has a disagreeable black spot at the 
 end of the nose, and a strong mark under her left eye. 
 
 In the third impression the black spot has been effaced, 
 and the nose enlarged ; the strong mark remains under 
 her left eye. 
 
 The OTHER PORTRAIT is turned towards the left; 
 her face is a three-quarters ; she wears a cap similar to 
 the other, but across the forehead is a bandage of net- 
 work, and over the head is a black veil, she has a 
 small ruff round her neck, which is open before. 
 Her mantelet is of fur. She is likewise sitting in an 
 elbow chair with her hands crossed, and part of a co- 
 vered round table is perceived before her. Behind her 
 chair is a light shade, and on the left towards the top, is 
 written Rembrandt /. These pieces are executed in a 
 
so6 
 
 PORTRAITS of WOMEN. 
 
 good stile, but the face of this is not so highly 
 finished as the other. 
 
 5 A — 4 to 
 
 314 A YOUNG WOMAN READING. 
 
 She is a half-length sitting, and leaning on a table 
 covered with a flowered cloth. She is reading with 
 .great attention in a book that lies open before her, on 
 which she rests her left hand ; part of her right hand 
 is hid under her gown at her breast. She is seen in 
 profile turned to the left, on which side the light 
 comes in ; round her cap is wound a kind of flowered 
 scarf tied behind, the two ends hanging over her left 
 shoulder. This piece is full of expression, and has a 
 fine effect ; a good impression is scarce. Near the top 
 is written Rembrandt f. 1634. 
 
 4to — 4 
 
 Of this print there are three impressions. 
 
 In the first , which is extremely rare , the piece is every 
 where clearer, especially in the face and neck. The 
 nose is shorter than in the common impression. The 
 upper part of the sleeve is less defined, and appears 
 narrower ; and the black line which bounds the print 
 on the left side is not straight, nor does it intersect the 
 hatchings at the bottom, as in the others. 
 
 In the second impression, which is scarce , the nose is not 
 altered ; a line is drawn on the left side of the print 
 from the top to the bottom, through the hatchings of 
 the table covering. The upper part of the sleeve is 
 wider and more defined. 
 
 In the third impression, the nose is longer than in the 
 others. 
 
PORTRAITS of WOMEN. 
 
 207 
 
 * 315 AN OLD WOMAN MEDITATING AFTER READING. 
 
 This piece seems intended for a companion to the 
 preceding, being of the same size, of the same date, 
 and executed in a similar taste. It is in Marolleds 
 collection in the French King’s library, and may be 
 considered as presque-unique. It represents an old wo- 
 man sitting at a table ; she is almost a half-length, and 
 turned to the left ; her right hand is under her gar- 
 ment, which is bordered with fur, and her left rests 
 on the book ; her head is raised and turned a little to 
 the right, and her countenance is expressive of con- 
 templation. 
 
 316 Rembrandt’s wife. 
 
 She has an agreeable face, seen nearly in profile, 
 turned to the right ; she has two rows of pearls round 
 her neck, and pearls at her ears ; the back part of her 
 hair is bound round with strings of pearls. The hair 
 hangs over her forehead, down the sides of her face and 
 behind her in a frizled state. Her handkerchief, which 
 is laced, is open before ; she has full sleeves tied round 
 the middle of her arm, and her waist is very short. 
 The back-ground is shaded about half way upward. 
 Above her head is written Rembrandt f. 1634. 
 
 — 1 —— 
 
 *10 
 
 317 AN OLD WOMAN WITH HER HAND ON HER 
 
 BREAST. 
 
 This, as well as the two portraits described in N°. 
 314, has a resemblance of Rembrandt’s mother. She is 
 a half-length seen in profile, sitting in an elbow chair. 
 
ao8 
 
 PORTRAITS of WOMEN. 
 
 on which she rests her right hand, and places her left 
 on her breast ; she is turned to the right, from whence 
 . the light comes in ; her head is bound round with a 
 flowered scarf which hangs over her right shoulder, 
 and behind her, as low as her elbow. The back- 
 ground is shadowed on the left as high as her shoul- 
 der. Low down on the right is written Rt. ,.1631. 
 This print is scarce, particularly a good impression. 
 
 5/0 — 5 to 
 
 There is another impression which is extremely rare , in 
 which the shadowing in the back-ground on the left, 
 goes higher than the top of the head ; there is also a 
 bag or net at the back part of the head to hold the hair ; 
 and the scarf, which hangs behind from the head, is 
 not floweVed. The effect in this is not so good as in 
 the common impression. 
 
 318 Rembrandt’s mother. 
 
 She is turned a little to the right, her eyes look 
 downward ; her head is covered with a black open 
 veil ; her habit is black, and her left hand is placed 
 high up on her breast. The face is finely finished 
 with a light point, and is very expressive of old age ; 
 the back-ground is shaded. In the margin, towards 
 the left, is written Rt. 1631. 
 
 There is a prior impression, which is very scarce ; it is less 
 wrought upon, particularly in the back-ground about 
 the head. 
 
 319 HEAD OF AN OLD WOMAN, ETCHED NO LOWER 
 THAN THE CHIN 
 
 This head likewise resembles Rembrandt's mother ; 
 
PORTRAITS of women. 
 
 209 
 
 it is finely characterized, and executed in a good taste ; 
 it is a three-quarters turned to the right, shadowed on 
 the left side, and covered with a hood. The back- 
 ground is slightly etched above the shoulder on the left, 
 with the single stroke. Above the head is written 
 Rembrandt f. 16^3. It is scarce. 
 
 Of this piece there are /™ impressions. 
 
 In the first impression, which is extremely rare , the plate is 
 a quarter of an inch larger at the bottom, which makes 
 the shape more agreeable, by the subject not ending 
 abruptly at the chin. 
 
 320 ANOTHER HEAD OF AN OLD WOMAN ETCHED NO 
 LOWER THAN THE CHIN. 
 
 This is another head resembling Rembrandt 1 s mo- 
 ther, not so old as in the last. On the head, which 
 is seen in front, is a kind of hood. The mouth is a 
 little drawn up ; the light comes in on the right side, 
 but a great part of the face is darkly shaded, particu- 
 larly her forehead and left cheek. There are a few 
 scratches at the bottom of the back-ground on the left 
 side. A little above them is written Rt. 1628, the 2 
 is reversed* This piece is scarce , particularly a good 
 impression. 
 
 In the collection of M. Van Leyden , there was an impres- 
 sion of this print, which was regarded as unique. In 
 it the face only is finished, and the hood is sketched 
 with a pencil. 
 
 e 
 
210 
 
 PORTRAITS of WOMEN. 
 
 321 BUST OF AN OLD WOMAN, LIGHTLY ETCHED. 
 
 In this piece there is likewise a resemblance of 
 Rembrandt' s mother. The head is a three-quarters 
 turned to the right, and shadowed on the left side ; it 
 is covered with a light thin veil that falls upon each 
 shoulder ; the garment is turned up with fur and open 
 before. It is lightly etched with spirit. In the top 
 corner on the right is written Rt. 1628, the 2 is re- 
 versed. 
 
 , 2 —— — 2 
 
 — i o " 1 o 
 
 322 AN OLD WOMAN IN A BLACK VEIL. 
 
 This bust produces a strong effect. The head is a 
 three-quarters turned to the right, and the piece is 
 deeply shadowed on that side, the light coming full 
 upon the other. The head-dress is covered with a 
 black veil that falls upon the shoulder ; the garment is 
 turned up before with fur ; the dress of the head and 
 neck is somewhat like that of a nun. The back- 
 ground is clear, except a very small part on the right 
 opposite to the chin. In the top left corner is written 
 Rt. 1631. This piece is scarce. 
 
 Of this print there are four impressions. 
 
 The first may be regarded as presque-unique , and is no more 
 than a sketch. The head, as well as the veil and bust, 
 is but feebly sketched, and the fur and fold of the 
 garment are not at all expressed. 
 
 In the second impression, which is extremely rare , that part 
 of the veil which hangs over her right shoulder, is 
 shadowed only in the half-tint ; the garment, the fur, 
 
PORTRAITS of WOMEN. 
 
 311 
 
 and the piece in general, is less wrought upon, than in 
 the two succeeding impressions. 
 
 In the third impression, which is very scarce , the Veil, in- 
 stead of being in the half-tint, is cross hatched and 
 darker, and the fold of the garment, the fur, &C, is 
 more wrought upon than in the formel\ 
 
 In th e. fourth impression, the whole is in general more 
 finished* particularly the linen under the chin, and the 
 stomacher, and this is scarce. 
 
 323 A WOMAN WITH A BASKET, 
 
 This is a half-length, etched with little more than 
 the single stroke ; the head is nearly a profile, turned 
 to the left, her hands meet before, but are not joined, 
 her basket hangs under her right arm, and at her left 
 side hangs a kind of a pouch or pocket ; her hair is 
 turned up behind, but falls a little over the ear ; on 
 her head is a small flat hat, she has a tippet over her 
 shoulders, and a bridle Under the chin. The light 
 comes in on the right side, and the back-ground is 
 shaded on the left half way upward. 
 
 2 — — 
 
 .510 ‘—10 
 
 324 A MORISCO. 
 
 The face of this woman is the character of a 
 Moor, though the complexion is fair. She is sitting 
 at a table, turned to the left, which is the enlightened 
 side ; the face is nearly a profile, the head-dress a kind 
 of scarf falling down the back with a feather in it. 
 The back-ground is shaded lightly on the right side, 
 and along the top. This piece is etched in a dry 
 manner 
 
 3A — 3 
 
212 
 
 PORTRAITS of WOMEN. 
 
 There is a prior impression which is larger than this, and 
 is very scarce , it measures 4^ by 3^. 
 
 325 BUST OF A WOMAN, THE LOWER PART OVAL. 
 
 This bust is lightly etched ; the face is a three-quar- 
 ters, turned to the right, and shaded on the same side ; 
 the head is covered with linen in the manner of a tur- 
 ban, and a lappet of linen hangs under the chin. The 
 garment is faced with fur ; the back-ground is lightly 
 shaded on the right side, and on the left are two 
 straight lines from the top to the shoulder crossing 
 each other. The lower part of the bust is finished in 
 an irregular oval, with a blank of half an inch from 
 the bottom of it to the edge of the plate. 
 
 2 ^ ■ 2 — — 
 
 *10 —JO 
 
 Of this piece there are tnvo impressions. 
 
 The first impression may be regarded as unique. It mea- 
 sures 2 ~o square. 
 
 326 A WOMAN IN A LARGE HOOD. 
 
 This is a three-quarters, lightly etched with a very 
 fine point. The body is nearly seen in front ; the 
 head is inclining, and turned a little to the right ; on it 
 is a large hood negligently put on, the ends of which 
 hang low down over each shoulder; the rest is only 
 lightly sketched, but it appears as if her hands were 
 placed before her under her apron. The back-ground 
 is lightly shaded. 
 
 2-ro- — 2 
 
 *327 AN OLD WOMAN’S HEAD. 
 
 The etching of this piece is coarse and hard, but 
 spirited. It appears as if the top of the plate bad been 
 
PORTRAITS of WOMEN. 
 
 213 
 
 cut off. The face is turned a little to the right, and 
 shaded on the same side, and the back-ground is deeply 
 shaded on the right. On the left at the top is written 
 Rt. It is extremely rare. 
 
 T JL_ mm T_?_ 
 
 MO 1 I O 
 
 There is a scarcer impression, which is not quite so much 
 shaded, especially on the left cheek and eye, and fore- 
 head. 
 
 328 A woman; reading. 
 
 She is a half-length, sitting and covered with a toi- 
 let cloth, leaning her head upon one hand, and with 
 the other turning over the leaves of a book. This 
 piece is lightly etched, and may be regarded as unique. 
 4-ro — 4 
 

 
 
 
 
 
 
 
 . 
 
 
 
 I 
 
 
 * 
 
 
 
 r. ; ■■ ■>; : :: : : 
 
 
 A 
 
 
XIII. STUDIES OF HEADS, AND OTHER SKETCHES. 
 
 329 The headof rembrandt, and other studies. 
 
 In this piece many subjects are etched as essays. Near 
 the top, is the head of Rembrandt , seen nearly in front ; 
 the cap is unfinished. On the left, is a rude sketch, 
 that cannot fully be made out. Upon turning the 
 print to the right, an old man and an old woman are 
 discovered, each leaning on a stick ; they appear to have 
 been in conversation, and are parting different ways, 
 the man towards the left, and the woman to the right. 
 Above them is the head of an old woman covered wfith 
 a veil, and under them is the head of an old man 
 reversed. 
 
 4 — 4ro- 
 
 330 PART OF A HORSE, AND OTHER SKETCHES. 
 
 In this piece there are several sketches in different 
 directions. Towards the top, the hinder part of a 
 house is sketched, and higher, quite in the left corner, 
 is the profile of a head, and to the right another is seen 
 in front, the lower part of it unfinished There is 
 likewise a kind of coppice surrounded with a wall ; a 
 
STUDIES. 
 
 $16 
 
 pretty large tree, and some others less. This is one 
 of the rarities that M. Houbraken parted with to an 
 English amateur. It is extremely rare. 
 
 4t<5 5 To 
 
 331 Rembrandt’s wife, and five other heads. 
 
 These six Heads are etched with spirit. Above 
 the middle of the print is the head of Rembrandt's 
 wife, turned a little to the left, in a veil thrown back. 
 Higher up on the left, is a 'Turk's head in a turban, 
 seen nearly in profile, turned towards the right. Op- 
 posite to it, on the right side, is a woman’s head, 
 etched with the single stroke, seen in front in a veil ; 
 she leans upon her left elbow, and holds her hand up to 
 her mouth. Near the bottom, in the middle, is a wo- 
 man’s face in profile, turned to the right, and looking 
 downward. On the left is a young woman’s head 
 in front, covered with a large fiat hat loosely tied un- 
 der the chin ; and on the right side is the head of ano- 
 ther young woman, her head uncovered, and turned 
 a little to the right, from whence the light in general 
 comes in. Near the bottom, towards the left, is writ- 
 ten Rembrandt f. 1636. 
 
 6-5 
 
 * 332 A SHEET OF SKETCHES. 
 
 This plate of sketches when entire, may be regarded 
 as presque-unique. It contains five heads of men, one 
 of which has on a square cap, and is placed on the 
 right ; another has on a fur cap, and is seen to the 
 left. This plate measures 3-^ — 4/0 ; but it has 
 since been cut into five, and several of the heads, par~ 
 
STUDIES. 
 
 217 
 
 ticularly the two just mentioned, are to be found sepa- 
 rate, but they have all been retouched. When en- 
 tire, (as it is in the collection made by Beringhen) 
 there is the appearance of there having been a sixth 
 head near the top of the plate, seen in front; but 
 Rembrandt effaced this head with a burnisher, the 
 marks of which are visible. The mark Rt. is written 
 backward. 
 
 The Jive pieces, into which this plate has been cut, are 
 described in the following Numbers, viz. 141, 277, 
 and 279 in this Catalogue ; and 128, and 129 in the 
 Supplement. 
 
 It is probable, that almost all the impressions that had 
 been taken off from the entire plate, were cut into 
 pieces either by the artist himself, or by the collectors, 
 and that this is particularly the case with those that 
 are less finished, as the heads were more finished after 
 the plate was divided. 
 
 333 THREE HEADS OF WOMEN. 
 
 Towards the top is a woman’s head seen in front, 
 and covered with a veil ; her right hand is extended 
 and placed to her face, the thumb near the bottom of 
 the cheek, and the fingers up to the forehead. A lit- 
 tle lower, and to the right, is another head ; the face 
 is almost a profile turned to the right, the head-dress 
 unfinished. The third head is to the left, nearly a 
 full front, and is sketched only with a single faint 
 stroke. The back-ground is shaded on the right to- 
 wards the bottom. This piece is scarce. 
 
 5 — 4 
 
STUDIES. 
 
 »i8 
 
 * There is another impression presque-unique , in Bering ben's 
 collection, made for the King of France , in which only 
 the uppermost head appears, the two others having 
 been added afterwards. 
 
 334 THREE HEADS OF WOMEN, ONE ASLEEP. 
 
 High up on the left is a woman sleeping, with her 
 head resting on her left hand. To the right of her 
 is another woman’s head, seen nearly in profile turned 
 to the left, and covered with a dark veil drawn toge- 
 ther at the back of her head. Low down, in the middle, 
 is a third woman’s head, seen likewise nearly in pro- 
 file, turned to the left, and looking downward. A 
 veil, which covers her head, is only sketched with a 
 single light stroke. At the top is written Rembrandt 
 /• i 6 37 - 
 
 ~~ 3 T'cT 
 
 335 TWO WOMEN IN SEPARATE BEDS, AND OTHER 
 
 SKETCHES. 
 
 Near the middle of this piece is a woman lying in 
 bed ; her arms are uncovered, her left arm is extended 
 downward, and she takes hold of the upper part of it with 
 her right hand ; part of a curtain is sketched, hanging 
 down near her head. Below her arm is a woman’s 
 head lightly sketched with a single stroke. To the 
 left are two busts of old men ; the foremost has a large 
 beard, and wears a high cap turned up with fur ; the 
 other is behind him, and is without a beard, in a com- 
 mon sioucheu hat; their heads are about three-quar- 
 ters, turned to the right. Above the last, are an old 
 man and an old woman lightly sketched; they are 
 
STUDIES. 
 
 2 19 
 
 walking to the right, each supported on a staff ; their 
 lower parts are not made out. On turning the print, 
 sideways to the left, the upper part of a very old wo- 
 man is discovered on the left near the top, in a fur 
 hat, holding the edge of her cloak with her left hand. 
 Lower down is a woman sleeping in a bed, with her 
 arms uncovered and lying upon her breast. Above 
 her is a large broad shade, circumscribed with a faint 
 expression of a curtain drawn to the feet of the bed. 
 This piece is lightly etched with much spirit. See 
 N°, *208. 
 
 5 to — 6 
 
 *336 rembrandt’s head and several others. 
 
 This sheet of sketches is extremely rare , it was in 
 the collection of Messrs. Helle and Glomy, who sent 
 it into England. Among other small heads, lightly 
 etched, there is one, near the middle of the plate, 
 which resembles Rembrandt . 
 
 $to — 3T0 
 
 337 rembrandt’s head, and other sketches. 
 
 A little to the right of the middle of the print is a 
 head of Rembrandt seen in front, with his hair 
 frizled, the light coming in on the left side. On the 
 left of the head, is part of the figure of an old man 
 seen in profile, turned to the left ; he wears a high cap, 
 which is much narrower at the top, than at the bot- 
 tom ; his cloak is buttoned over his breast, and at the 
 button hole is fastened a hat, which he holds up with 
 both hands joined together, as if to receive alms in it. 
 On turning the print sideways to the right, a woman 
 is seen standing on the left side in profile, turned to 
 
S20 
 
 STUDIES. 
 
 the left, and covered with a gown or cloak, with 
 hanging sleeves ; she holds a basket with both hands ; 
 before her stands a child, seen from behind. Above 
 the child, at the top of the plate, is a man’s head very 
 feebly expressed. Towards the left corner at the bot- 
 tom, is written Rt. 1650, but it is not to be read 
 without difficulty. This piece is scarce. 
 
 4-xT — 3 A 
 
 338 THE SKETCH OF A DOG. 
 
 This piece is so scarce , that only one is supposed to 
 be extant. It contains only the sketch of a dog, placed 
 on the left, and turned to the right, of which no more 
 than the head is finished. 
 
 4A - 6 
 
 339 SKETCH OF A TREE, AND OTHER SUBJECTS. 
 
 Near the middle of this piece stands a tall tree, 
 reaching nearly to the top ; to the left of it, and be- 
 tween it and the stump of another tree, stands a little 
 figure. On turning the print sideways to the right, 
 is discovered part of a man’s head, with a mezetin cap 
 which is highly finished ; the face is only finished 
 about his right eye ; the hair reaches to the left cor- 
 ner of the print ; his left eye has been taken out with 
 a burnisher, but part of the eye-brow remains ; and, 
 as the plate is now cut, it could not have contained 
 more than the upper half of his face. Above the cap 
 an eye is etched, and to the right of it, a small sketch 
 of hair. 
 
STUDIES. 
 
 221 
 
 This is the same piece that Messrs. Helle and Glomy have 
 introduced in N°. 230, among the landscapes. It is 
 scarce . 
 
 *240 TWO SMALL FIGURES. 
 
 This is a small print, to the right of which two 
 small figures are traced ; one of them is more finished 
 than the other, and has a high cap on his head, and is 
 seen as low as the knee. The other is but very im- 
 perfectly sketched. The plate is divided into two by a 
 line. Upon the left are several small traces, the sub- 
 ject of which cannot well be determined. This print 
 is in Beringhen’s collection, made for the King of 
 France , and is extremely rare. 
 
 I to — 3 
 
 *341 THREE PROFILES OF OLD MEN. 
 
 This is a sheet of sketches, containing three heads 
 of old men seen in profile, and turned to the right, 
 which appear to be three attempts at the same cha- 
 racter ; the most perfect is that at the top of the plate 
 on the left ; under it is another slightly sketched, and 
 afterwards obliterated by zigzag scratches ; to the 
 right of this sketch is the same head in a calotte. This 
 piece is likewise in the collection made by Beringhen 
 for the King of France, and is extremely rare. 
 
 4 — 3tV 
 
XIV. DOUBTFUL PIECES, 
 
 OR SUCH 
 
 AS HAVE BEEN ERRONEOUSLY ATTRIBUTED 
 
 TO 
 
 REMBRANDT. 
 
 M. Gersaint has introduced into this class , several pieces that can- 
 not nonv possibly be attributed to Rembrandt. Of such the 
 descriptions are here abridged as much as possible. In this class. 
 Nos. 345 , 347 , 348 , 350 , 357 , 358 , 359 , 361 , 362 , 363 , 
 and 364 , have been admitted into so?ne of the first collections in 
 Holland as the --works of Rembrandt ; among others in those 
 ofNL. De Burgy of the Hague, M. Molewater ofRotterdam, 
 and M. Van. Hulst, and have been much sought after ; but 
 Gersaint has very judiciously arranged them among the doubtful 
 pieces, 
 
 342 Jacob and esau. 
 
 This piece represents Esau selling his birth-right to 
 his brother Jacob . On the left side near the bottom, 
 is written Rembrandt f. in a hand not at all resembling 
 
224 
 
 DOUBTFUL PIECES. 
 
 Rembrandt's ; and there is no appearance of his man- 
 ner, either in the composition or execution, which is 
 dry, and produces little effect. It is the work of 
 Verbeccq , and etched in the same stile as the two fol- 
 lowing pieces, which are likewise certainly by him. 
 
 io t 9 g 8 
 
 *343 THE RETURN OF THE PRODIGAL SON. 
 
 This piece is by Verbeccq , whose mark P. V. is to- 
 wards the top at the left corner. The story is so well 
 told) that it is surprizing that Messrs. Helle and Glomy , 
 and P. Tver, should describe it as an unknown subject. 
 The prodigal son is kneeling, and supplicating the 
 forgiveness of his father, who is seated under a mag- 
 nificent canopy. His brother stands in an unfeeling 
 attitude, apparently dissatisfied with the reception that 
 the repentant prodigal is likely to meet with from his 
 father ; his mother takes him by the hand, and endea- 
 vours to reconcile him to it. This piece is well exe- 
 cuted, and produces a fine effect. 
 
 5 TO — 4to 
 
 *334 A SHEPHERD SITTING UNDER A TREE. 
 
 This piece is executed in the nianner of the two 
 preceding. A shepherd is sitting cross-legged on a 
 bank, under a spreading tree. He has a feather in his 
 cap, he holds a pipe in his right hand, and his crook 
 lies on the ground behind him. On the fore-ground 
 is written P. Verbeccq, 1619. This print is an oval# 
 
DOUBTFUL PIECES. 
 
 225 
 
 345 DAVID ON HIS KNEES PRAYING. 
 
 This piece is executed somewhat in Rembrandt' s dark 
 manner, and represents David kneeling, in an ermine 
 robe, with a crown on his head, and his hands lifted 
 up before a table, on which lies a great book open 
 under a window. In the back-ground the harp ap- 
 pears set up against a wall under a picture, and on 
 the left is a great chair, by the side of which is a large 
 taper burning, that illuminates the whole room : be- 
 hind it there is another picture. This piece is much 
 sought after, and is generally believed to be Rem- 
 brandt's, but as it is deficient both in spirit and skill, 
 it is at best one of his first essays. It is extremely rare. 
 
 5i 9 o — 7 
 
 *346 BO AZ AND RUTH. 
 
 Boaz is dressed in the oriental manner, giving his 
 orders to some reapers, and pointing with his right 
 hand towards Ruth , who is gleaning at some dis- 
 tance. This piece is etched with spirit, but does 
 not appear to be the work of Rembrandt. 
 
 4 ^ i o 
 
 347 THE NATIVITY OF OUR LORD. 
 
 In this piece the whole subject is illuminated from 
 the infant Jesus, who lies in a cradle. The virgin 
 lifts up his covering to shew him to the shepherds, and 
 Joseph is sitting in front behind the cradle. On the 
 right side, a shepherd is standing with his hat on. To 
 the left of the cradle, a shepherd and shepherdess are 
 kneeling, and a lamb lies on the ground at the shep- 
 herd’s right foot There are several other persons stand- 
 W behind. The back-ground consists of stone-work, 
 
 p 
 
226 
 
 DOUBTFUL PIECES. 
 
 with an arch in the middle. In this print there is but 
 little resemblance of Rembrandt 1 s manner, but it is 
 scarce , and much sought after. The^mpressions are 
 faint. 
 
 4 — ~ ^to 
 
 348 THE REST IN EGYPT. 
 
 Joseph and the virgin are sitting on a bank under 
 some trees on the right ; she holds the infant Jesus in 
 her lap, and Joseph leans his head upon his left hand, 
 and holds a crutch-stick in his right. The ass is ly- 
 ing down in the left corner. This is a night piece, 
 and the whole subject is illuminated from a lantern 
 that hangs on the bough of a tree to the left of 
 Joseph. It is a pleasing little print, well executed 
 with effect, and is generally placed among the works 
 of Rembrandt. Towards the left, near the bottom, 
 is written 1642, but some impressions are without this 
 date. It is extremely rare. 
 
 349 OUR. LORD DRIVING THE MONEY-CHANGERS OUT 
 OF THE TEMPLE. 
 
 This piece has a good effect, but the etching is hard 
 and unlike the manner of Rembrandt. Jesus is stand- 
 ing on a step to the right, and is striking the money- 
 changers with a rod ; he has thrown down a table, on 
 which were some open money bags ; the money is 
 thrown out, and a man is gathering it up. To the 
 right is a woman in shade, who appears to be crooked, 
 she holds a basket with both hands. The back-ground 
 
DOUBTFUL PIECES. 
 
 227 
 
 represents the entrance into the temple. It is ex- 
 tremely rare. 
 
 8 t 5 o - 6A 
 
 350 THE WOMAN TAKEN IN ADULTERY. 
 
 This piece is much in the manner of Rembrandt, 
 but ill executed, and is not finished. It represents 
 many figures, and one of the yews, who is placed 
 in the middle of the print, holds the woman by the 
 arm with his right hand, and with his left shews her to 
 our Lord, who is to the right, and is sketched only 
 with the single stroke, all that side being unfinished. 
 It is very scarce. 
 
 3to — StV 
 
 351 OUR LORD IN THE GARDEN OF OLIVES. 
 
 This piece is in a dark manner, the shadows very 
 deep, and the opposition of light being too strong, ren- 
 ders the etching hard ; the design is likewise very bad. 
 It is however much sought after, though it must be 
 considered at best, but as one of Rembrandt' s first at- 
 tempts. Our Lord appears to be praying, and an 
 angel embraces and sustains him; the apostles are 
 sleeping towards the bottom, and on the left, the sol- 
 diers are coming to seize Jesus. The subject is illu- 
 minated from a great light that comes in at the top on 
 the right. It is extremely rare. 
 
 4ro — 7 to 
 
 352 THE JEWS DEMANDING THE EXECUTION OF OUR 
 LORD BEFORE PILATE. 
 
 On the right is a throne, on which Pilate is stand- 
 ing between the two arms of his chair. The Jews 
 
228 
 
 DOUBTFUL PIECES. 
 
 are on the left standing before the throne, and through ; 
 an arch, 'a cross is discovered a iittle inclining. ] 
 This piece is not much shaded. On the base of the 
 throne is written R. Hoog fecit. 1648. It is very 
 scarce, 
 
 4 — 5tV 
 
 353 THE INSIDE OF A PROTESTANT CHURCH. 
 
 This piece was designed for a book published in j 
 Amsterdam, in 1654, the subject of which is an ex- , 
 planation of the catechism, by Beeltsnyder. It re- 
 presents the inside of a church, adorned with many 
 pillars, from which spring arches to support the roof. 
 On the left side is a pulpit, and below it a desk, in 
 which stands a minister, who is catechising a number 
 of children that are collected before him. There are 
 many persons assembled in the church, and the men 
 have all of them their hats on. On the floor are se- 
 veral grave stones with figures cut on them. This 
 piece is tolerably executed, and with considerable ef- 
 fect in the chiaro-scuro, but the countenances are 
 without character or expression ; and neither Ger saint, 
 nor Houbraken , who besides being a capital artist, had 
 an extensive and critical knowledge of the works of 
 others, believe this to be Rembrandt? s. It w r as how- 
 ever in their time, purchased by a print fancier at the 
 Hague, as essential to his collection, at the price of 
 60 forins , which is equal to five pounds ten shillings 
 sterling. It is very scarce. 
 
 6_? c— 
 
 u io i i o 
 
 Of this piece there are two impressions. 
 
DOUBTFUL PIECES. 
 
 229 
 
 In th t first, which is extremely rare , the sounding board of 
 the pulpit is not supported by two iron stays, as it is 
 in the second. There is likewise no letter press on the 
 back, which the common impressions have. 
 
 354 A BATTLE. 
 
 The scene of action is to the left, where a horse- 
 man is seen from behind ; his horse rears on his hind 
 legs, and he is throwing a lance with his left hand, at 
 a man who is running away. In the right front is a 
 Turk or Polander in a turban, with a feather in it, 
 who is likewise running ; his mouth is open, and ter- 
 ror is excellently expressed in his countenance. This 
 piece is etched with skill and spirit, but does not ap- 
 pear to be Rembrandt' s. It is extremely rare. 
 
 4tct — 6 jV 
 
 355 THE MOUNTEBANKS AT A FAIR. 
 
 In the left front is an arch of brick-work ; further 
 back, at the foot of some architecture in ruins, is a 
 great crowd gazing at two mountebanks on a stage, and 
 the head of another is seen peeping from behind a cur- 
 tain. In the right front is a rat-killer, habited like a 
 a Spaniard in a high crowned hat, with a narrow 
 brim ; on a pole which he holds in his left hand, is a 
 wicker basket with a rat in it. This piece is executed 
 with great spirit in a good taste ; and in the landscape, 
 somewhat in Rembrandt ' s manner ; the effect is like- 
 wise brilliant, but it is the production of VI ieger. It 
 is very scarce. 
 
 5 7 tf 
 
2^0 
 
 DOUBTFUL PIECES. 
 
 356 A YOUTH SKETCHING. 
 
 This piece represents a young man sitting on a stone, 
 ‘ under a wall to the left ; he holds the paper in one 
 hand, and his pen in the other ; his habit has very 
 large buttons, and he is turned to the right. In the 
 distance on the same side, there are some houses. It 
 is well etched, and has a good effect, but has nothing 
 in it of the manner of Rembrandt. It is scarce. 
 
 5 — 3 * 
 
 337 A FIDDLER WITH A WOMAN SINGING. 
 
 This piece is well executed, with a good effect, but 
 is more like the production of Van Vliet , than of Rem- 
 brandt. It represents a man on the threshold of a 
 door, and another standing by him. Before the door 
 is a man playing on the violin, and a woman singing, 
 and to the right, are several children listening to the 
 music. 
 
 358 A WOMAN STANDING AND A MAN SITTING. 
 
 This piece is ill executed, and the aquafortis has 
 failed almost in every part ; there is not the least pro- 
 bability that it is Rembrandt's, but it may possibly be 
 the work of V an Vliet. On the right is a tall woman 
 standing, and towards the bottom on the left, a man is 
 seen from behind sitting. 
 
 T e T_i_ 
 
 1 T'o' 1 x a 
 
 359 SAINT FRANCIS. 
 
 On the right of the print is a rock, under which 
 St. Francis is sitting, his head is supported on his 
 
DOUBTFUL PIECES. 
 
 331 
 
 right hand, and his elbow rests near a book that lies 
 open. This piece is lightly etched in a dry manner, 
 without effect, and with but little taste. It is scarce. 
 
 2 rs ‘ ^t~o 
 
 360 THE HEAD OF A GOAT. 
 
 On the left is a study of the head of a goat as far as 
 the extremity of the neck, executed somewhat in the 
 dark manner. In the diftance towards the right, are 
 two very little figures seen from behind, the tallest of 
 which carries a staff on his shoulder. This piece is 
 scarce , but not Rembrandt's. 
 
 2 t 7 o ~ 4 rs 
 
 361 THE PEN-CUTTER. 
 
 This piece represents an old man in a mezetin cap, 
 with a large white beard, and habited in a black velvet 
 gown, with spectacles on. He is turned a little to the 
 left, sitting behind a table, on which a large book 
 lies open before him, with another book shut, on 
 which stands an hour-glass, and near it an ink-stand ; 
 he holds a pen in his right hand, and is cutting it with, 
 his left. In the back-ground behind him is an arched 
 door. This print is well designed and executed, and 
 is probably after Rembrandt , but not by him. 
 
 6 J c~- 
 
 U IO O 
 
 362. A YOUNG MAN. 
 
 The head is a three-quarters, uncovered and turned 
 to the left ; the hair is straight. A cloak hangs on 
 his left shoulder, under which is a common cOat but- 
 toned before, and with three large buttons on his 
 right sleeve. The back-ground is shaded with irre- 
 
232 
 
 DOUBTFUL PIECES. 
 
 gular hatchings. This piece is etched in a dry, hard 
 manner, without effect, and is for the most part re- 
 jected, as not being the work of Rembrandt . 
 
 nj- 2 — — 
 
 5 1 o “10 
 
 363 AN OLD MAN’S HEAD, WITH A SHORT BEARD. 
 
 This head is turned a little to the right, inclining 
 downward ; the back is only traced with a single 
 stroke on the left side. The etching is light, and all 
 the impressions are defective. It is very scarce. 
 
 2 — i— L 
 
 Of this print there are t-uuo impressions. 
 
 In the first, which is extremely rare, the head is much bet- 
 ter expressed, and it has more effect than in the second. 
 
 This piece is N°. 25 in De Burgy's catalogue. 
 
 364 AN OLD MAN WITH A BALD HEAD, AND WHITE 
 
 BEARD. 
 
 This bust is turned to the left, the forehead and 
 the crown of the head are white ; it is lightly etched 
 and shaded on the left side, the shoulders are covered 
 with a cloak. All the back-ground is shaded with 
 light strokes, which are more faint near the middle, 
 particularly on the left side of the head. It is of that 
 class which approaches nearest to Rembrandt's man- 
 ner, but is nevertheless doubtful. It is extremely rare , 
 and has been purchased at extravagant prices. 
 
 oJL — 2 — — 
 
 jio ^ I o 
 
 365 AN OLD MAN READING. 
 
 He is sitting in a chair ; his face is a three-quarters 
 turned to the right, he is reading in a large book that 
 
DOUBTFUL PIECES. 
 
 233 
 
 lies open on his knee, his left hand rests on the book, 
 and his right hand is raised towards his breast. The 
 back-ground is shaded on the right side along the top, 
 and on the left higher than his chair. It is well de- 
 signed, and executed somewhat in Rembrandt's man- 
 ner, but is more likely to be after, than by him. 
 
 2 —— 
 
 .■) 1 O — JO 
 
 THE PORTRAIT OF AN OLD MAN, WITH A FRIZLED 
 BEARD. 
 
 This is a half-length executed with great spirit, in a 
 masterly manner. His head is seen in front with the 
 mezetin cap on, his hair and beard are curled and 
 bushy, and confounded with each other. His gar- 
 ment is faced with fur, a cross hangs at his breast, and 
 his hands rest on a walking stick. The body is turned 
 a little to the right. This piece is the work of Bo/, 
 and in the top right corner is written F. Bol.f 1642, 
 the two last figures are reversed. 
 
 4xo — 3x + o 
 
 A LANDSCAPE. 
 
 Near the middle among some trees, a piece of 
 architecture is discovered, which represents a circular 
 temple ; and close on the right are some ruins that 
 reach to the top of the print, the lower part of which 
 consists of several arches and vaults within them. 
 This print is rudely scratched without spirit, some- 
 what in the manner of Morin , and is generally found 
 with three others done by the same hand. It is by no 
 means Rembrandt's. It is very scarce. 
 
 oJL mm A 
 .510 u 1 o 
 
DOUBTFUL PIECES. 
 
 334 
 
 368 A LANDSCAPE. 
 
 This seems io be some view in Germany. It is 
 etched in a dry manner without any effect, and the 
 composition is very different from that of Rembrandt. 
 In the front near the middle, is a small figure of a 
 man with a staff in his hand, crossing a road towards 
 the left, on which side is a winding river, and by the 
 side of it some houses ; and lower, near the middle, are 
 several other houses, one of which is very high. In 
 the right front is a clump of trees, and in the distance 
 a chain of mountains, on the highest of which is a 
 tower or castle. It is very scarce. 
 
 6 — 7 
 
SUPPLEMENT 
 
 TO THE 
 
 CATALOGUE 
 
 OF THE 
 
 WORKS 
 
 OF 
 
 REMBRANDT, 
 
 TRANSLATED FROM THE FRENCH 
 
 OF 
 
 PIERRE YVER. 
 
SUPPLEMENT, &c. 
 
 I. PORTRAITS of REMBRANDT. 
 
 1 — fllA BUST OF REMBRANDT WHILST YOUNG. 
 
 His face is nearly in front, his body turned towards 
 the right, and the light comes in from the left. He 
 wears a fur cap which comes down to his eye-brows. 
 The bottom of his right ear is seen, and his hair, 
 which is frizled, hangs down upon his right shoulder. 
 His habit is open before, and bordered with fur. The 
 back-ground is white, except a light shade of single 
 strokes on the left, as high as the shoulder. On that 
 side, near the top, is written Rt. 1630. 
 
 2_±_ — 2 
 
 ■*10 *■ 
 
 2 — 12 ANOTHER BUST OF REMBRANDT. 
 
 It is placed on the left of the print, with the body 
 
 •f- The second number is that in P. Tver’s catalogue. 
 
 “Where any deviation from the original occurs, it has been caused by comparing 
 the print with P. Tver’s description. 
 
238 SUPPLEMENT. 
 
 turned to the right. The left side of the face is 
 shaded, and the hair, which is frizled, falls upon the 
 left shoulder. His habit is a little open at the top, and 
 is bordered with fur. The back-ground is white, ex- 
 cept some little strokes at the right corner. At the 
 top, on the left side, is written, very distinctly, Rt. 
 1631. This piece is very scarce. 
 
 2 ^ - o L 
 
 A I O Z I o 
 
 There is a second impression which is le^s than the other, 
 and is without the name and date. It measures nearly 
 2 by i-Aj. 
 
 II. SCRIPTURE SUBJECTS 
 
 FROM THE 
 
 OLD TESTAMENT. 
 
 3 — 14 Abraham sending away hagar and ish- 
 
 MAEL. 
 
 Abraham is seen in front to the left of the print, 
 in a cap, and a long robe. Ishmael is at the side of 
 him, and seen likewise in front ; farther to the 
 right, is Hagar weeping ; her head is downcast, and 
 covered with a large veil. They are standing on the 
 first step in front of the house, and Sarah is seen 
 
SUPPLEMENT. sjg 
 
 through a window. This subject is treated with all 
 
 the spirit of which this great painter was master. 
 
 2 9 2 — ~ 
 
 I O o 
 
 15 THE SAME SUBJECT. 
 
 This piece seems as if done as a companion to the 
 last. The patriarch is seen on the left, almost in 
 front, his arms folded in his robe, and his head bare. 
 To the right Hagar, in the attitude of a person in 
 sorrow* is about to depart. Ishmael is seen from be- 
 hind, and appears to detain her. In the back-ground, 
 on the left, are some trees ; the rest of it is blank. 
 This piece has a good effect, and is scarce , as well 
 as the preceding print. 
 
 III. SCRIPTURE SUBJECT 
 
 FROM THE 
 
 NEW TESTAMENT. 
 
 30 The holy family. 
 
 The whole of this piece is covered with hatchings, 
 except the middle, where is seen a sort of arcade, 
 
SUPPLEMENT. 
 
 through which comes the light ; and where the virgin 
 is sitting, seen in front, holding the infant Jesus 
 upon her knees, and giving him the breast. Joseph is 
 seen sitting before her, with a book in his hand, in 
 which he is reading. 
 
 3 tV — 2/0 
 
 IV. FANCY PIECES. 
 
 -53 An old man seen in front. 
 
 He has a white beard, and his hair is bristly. He 
 is sitting, and his body is turned to the right, from 
 whence the light comes in. His right arm leans on a 
 book that is open, and which lies with some other 
 books on a table to the left. In his right hand he 
 holds a pen, and his left (which is only sketched) 
 rests on the elbow of his chair. His garment is in 
 part only sketched. The back-ground to the left is 
 shaded. This piece is assuredly by Rembrandt , and is 
 etched in the same stile, as N°. 99 , Saint Jerome , and 
 is as great a rarity. 
 
SUPPLEMENT. 
 
 241 
 
 7 — 60 AN ASTROLOGER, OR OLD MAN, ASLEEP. 
 
 He has a cap on, and a long white beard, and is 
 sitting fast asleep before a table, on which are many 
 books, a candle, and a globe. With his right hand 
 he holds a pen, and with his left, his spectacles, which 
 are in part hid by his gown. He is turned towards 
 the right from whence the light proceeds. On the 
 left there is a pillar which reaches the top of the 
 print, and on the right is a curtain drawn up, and an 
 arched cupboard. The back-ground is hatched with 
 cross strokes. This piece has a good effect and is 
 scarce. 
 
 r_ 5 .6 
 
 5 1 o 4 1 o' 
 
 8 6 l AN ALCHYMIST IN HIS LABORATORY, 
 
 Or rather, An Astrologer or Philosopher in his Study . 
 He is seen in profile to the right of the print, and 
 turned to the left. He is rising from his chair, and 
 supports himself by resting his left hand on its elbow. 
 He is in a gown, and has a cap on. His right hand 
 is on the table before him, on which is a book open, 
 wherein he is reading by candle light ; there is like- 
 wise a globe on the table. To the left is a round pro- 
 jection (probably the outside of a well-staircase) at 
 which is fixed a clock. On the right side is an 
 arched door. This etching is rather hard, and the 
 design heavy. As M. De Burgy not only believed 
 it to be done by Rembrandt , but likewise to be one of 
 his most rare prints, M. Van Leyden has placed it 
 among his works, but P. Tver looks upon it as 
 doubtful. 
 
 O-?-. tmmm O _L 
 
 A I 6 * To 
 
V. BEGGARS. 
 
 .62 A BEGGAR SITTING IN AN ELBOW CHAIR, OF 
 WHICH THE BACK IS SEEN. 
 
 He is turned towards the right of the print, from 
 whence the light comes in ; his head is bald, his beard 
 thin, his hands joined together and placed before him. 
 His garment is lightly worked upon ; the elbow and 
 back of the chair are covered with strokes ; all the rest 
 is white. 
 
 S T '° 3^5- 
 
 — 63 A BEGGAR, SEEN FROM BEHIND, WITH A BAS- 
 KET OF PEDLARY AT HIS BACK. 
 
 He holds a long staff in his right hand, which rests 
 against his shoulder. At his side is a beggar woman 
 seen in front, covered with a sort of shepherdess’s hat, 
 and holding a child by the hand. The back-ground 
 is white, but at the top to the right is a sort of arcade, 
 or grotto, ill expressed with strokes harder than the 
 rest of the print. There is no name, but this as well 
 as the last, is undoubtedly the work of Rembrandt , 
 and is extremely rare. 
 
SUPPLEMENT. 
 
 243 
 
 1 1 75 COMPANION TO N°. 1 73, A PEASANT STANDING. 
 
 It represents a woman standing, seen in profile, and 
 looking towards the right ; she holds her right hand 
 before her, her feet are naked, and a bottle hangs 
 at her girdle. The left side and the top of the print, 
 are lightly shaded. P. Tver says that he should have 
 attributed this print to Livens , but that it is found in 
 the collection of Rembrandt's works, made by M. 
 Molewater , M. De Burgy , and others. 
 
 2 -A — i A 
 
 VI. LANDSCAPES. 
 
 n-83 A BEAUTIFUL LANDSCAPE. 
 
 Towards the middle, is a country seat of two sto- 
 ries high, with three chimnies, and three dormer 
 windows in the roof. To the right is a windmill, 
 raised very high, and near it is a vessel under sail. In 
 the left corner is a thatched cottage, of which only 
 the half is seen, with a clump of trees. A gateway 
 supported by two leaning posts, is fixed on a wooden 
 bridge, which commences at the left corner, and ter- 
 minates at some distance from the house. Above 
 the end of it are seen some vessels under sail, and in 
 
SUPPLEMENT. 
 
 the left distance, another windmill. On the right 
 side is a piece of water, three sides of which are fenc- 
 ed off from the bank with upright posts and planks. 
 This piece is very interesting and is scarce. 
 
 2 -- 8 - 3 - 
 
 A I O w 1 o 
 
 1 3 84 A LANDSCAPE WITH A CANAL. 
 
 Towards the right of the piece, a canal is seen in 
 perspective, and towards the middle, a large tree, sur- 
 passing some others in height, is reflected in the water. 
 Near this tree, or rather in the middle of the print, 
 is a large thatched cottage, before which are some 
 trees not shaded. Towards the left is a Dutch barn ; 
 and in the left corner, in the distance, a town and two 
 windmills. Quite to the right is a palisade, which 
 seperates the fields from the high road ; and at the end 
 of the road are some houses and trees indistinctly 
 expressed. There is likewise a windmill near the 
 canal. The back-ground is white at the top, on the 
 right is written 1659. This Landscape is one of the 
 rarest of Rembrandt' s works. 
 
 2r 9 o— 8 
 
 There is an impression without the date, which has not 
 so good an effect as the other, having been taken after 
 the plate was smoothed. 
 
 14 — 86 A COTTAGE, WITH A DUTCH BARN, &C. 
 
 This piece does not produce a good effect, the aqua 
 fortis having failed. Towards the middle, is a Dutch 
 barn filled with hay, adjoining to a cottage, before the 
 door of which is a barrier which extends before it, and 
 a clump of trees ; and farther off are four higher trees. 
 
SUPPLEMENT. 
 
 *45 
 
 The rest to the right of the plate, has failed for a 
 quarter of an inch. In front is a canal, towards the 
 middle of which grow several reeds ; and a little boat 
 is fastened to a stake fixed in the water. This piece 
 is undoubtedly by Rembrandt. 
 
 L5 87 A LANDSCAPE OF GREAT EFFECT. 
 
 In front is a canal, in the corner of which, to the 
 right, is a fishing boat fastened to a stake ; the fisher- 
 man who is in it, is in a stooping attitude. Behind 
 is a large cottage, with a square chimney in the mid- 
 dle of the roof ; and this cottage has a door hatch, the 
 upper part of which is open ; behind it appears the top 
 of a Dutch barn, and by the side of it are some trees 
 with thick foliage. In the back-ground on the left, is 
 another cottage, and a Dutch barn, with many trees ; 
 and in the distance are perceived, with some difficulty, 
 two mills. The back-ground is white, except on the 
 left near the top, where it is filled up with hatchings. 
 
 2 To — 7 
 
 l6 — 88 A LANDSCAPE STRONGLY ETCHED. 
 
 On the right is a large wooden house with three 
 chimnies. One is at the top near the gable end, 
 the other two on the side, are in a very ruinous state. 
 In front of the house runs a rivulet, with a wooden 
 bridge over it on the right. In the distance is a stee- 
 ple, and a flock of birds are seen flying, about the 
 middle of the print. It is extremely rare. 
 
 o 6 6-t- 
 
 j I O W 1 O 
 
246 SUPPLEMENT. 
 
 17 — 89 THE HAY WAGGON. 
 
 This is a pleasing iandscape. On the left is a pea- 
 sant drawing water from a well, behind which is a 
 high forest tree. On one side of the well is perceived 
 a hill, and a Dutch barn ; before the hill are two 
 trunks of trees, and a waggon loaded with hay, 
 whence the print is called in Holland , De Hooy Wa- 
 gentje. The back-ground is white. This piece is 
 undoubtedly the work of Rembrandt. 
 
 2 —~ — £— L 
 
 *io j 1 o 
 
 J8—9O THE CASTLE. 
 
 This landscape is highly finished ; it is called in 
 Holland , Het Casteeltje. A castle or fortress is seen, 
 which has eight pointed towers. In the back-ground 
 are perceived some mountains, and on the left a tree 
 which reaches to the top of the print. It is very scarce. 
 
 3to — 4 
 
 ? 9 — 91 THE BULL. 
 
 This landscape is called in Holland , Het Steertje. 
 In the middle, in front, is a bull tied by the horns, 
 with a long rope, which comes from the left. There 
 is a large trunk of a tree, with other trees close be- 
 hind, which constitute the back-ground. On the 
 left is a sort of a stile, and on the right is seen a cot- 
 tage at a little distance. In the right corner, at the 
 bottom, is written Rembrandt f. 164. The figures 
 are so small as to be scarcely visible, and the last 
 figure is lost in the line at the edge of the print. It is 
 etched in a coarse manner and is extremely rare, 
 
 3— 4tV 
 
VII. FANCY HEADS 
 
 OP 
 
 MEN AND WOMEN. 
 
 20 — I 12 An old man with a short beard. 
 
 This is a small head of an old man, the beard of 
 which is short and frizled. It is extremely scarce , and 
 measures an inch square. 
 
 21 124 BUST OF A YOUNG MAN IN AN OCTAGON. 
 
 This is the bust of a young man finished to the 
 neck, the rest of the plate being white. He is inclosed 
 in an oblong octagon, and wears a hat, such as is 
 worn by the ministers of Holland, the etching of 
 which is more finished than the portrait. His hair 
 hangs loose on his left shoulder, where it appears 
 fainter than on the right. Towards the left top of the 
 print are some strokes. This piece is presque-unique, 
 P. Tver had only seen it in M. Van Leyden's cob- 
 lection. 
 
 4t<d 3to 
 
 22 125 BUST OF A YOUNG MAN LIGHTLY SKETCHED. 
 
 He is covered like the preceding, with a hat such 
 3s is worn by the ecclesiastics, and the head and hat 
 
SUPPLEMENT. 
 
 248 
 
 are the most expressed, though lightly. He is placed 
 on the right, and turned to the left of the print. 
 
 L 2 — 
 
 3 I O X l O 
 
 23 — 126 BUST OF A YOUNG MAN IN A MEZETIN CAP 
 
 AND FEATHER. 
 
 He is seen partly as through a window or frame, 
 which borders round the print. He is directed to the 
 left, and the light comes in from the right ; he wears 
 the mezetin cap with two feathers, and is clad in a 
 robe fastened with two clasps. On the left shoulder 
 is an epaulette. The back-ground is entirely worked 
 upon. At the bottom in the right corner, something 
 
 appears like drapery. It measures, including a border, 
 
 * 8 - 
 
 2 1 o 1 2 
 
 24— I27 BUST OF A MAN 
 
 He is placed on the right of the print, on which 
 side the light comes in. The right side of his face is 
 shaded, the hair is frizled and thick, and falls on the 
 right shoulder ; on the upper lip is a moustache. His 
 cloak is light on the top of the left shoulder. The 
 back-ground is shaded, except in the left corner at the 
 bottom, which is white, and where is written Rt. 
 
 i io ‘10 
 
 25 — 128 BUST OF AN OLD MAN WITH AN AQUILINE 
 
 NOSE. 
 
 The face is a three-quarters directed towards the 
 right, from whence comes the light. He wears a high 
 fur cap, of which the border is nearly white ; and the 
 top of it projects, and reaches nearly to the right top 
 
SUPPLEMENT 
 
 249 
 
 corner of the print. His nose is aquiline, and he has 
 moustaches. He is in a fur cloak, which, being open 
 before, discovers his shirt and a sort of vest. The 
 back-ground is white. This piece is part of a leaf of 
 sketches N°. 332. 
 
 1_ To 
 
 26 — 129 BUST OF AN OLD MAN SEEN NEARLY IN PRO- 
 FILE. 
 
 He is turned towards the right, from whence comes 
 the light. He is partly bald, and very sharp in the 
 upper part of his face ; his hair behind is bristly. His 
 beard is long, and his countenance attentive, which is 
 well expressed by his mouth being a little open. He 
 is covered with a robe. The back -ground is white. 
 This piece is very scarce, and as well as the last, is 
 part of a leaf of sketches, N°. 332. 
 
 ii. j . 
 
 MO MO 
 
 27 130 BUST OF A MAN IN A RUFF, WITH FEATHERS 
 
 IN HIS CAP. 
 
 This little bust is a full face, and the light comes 
 from the right. He wears a bordered cap, drawn down 
 to his eyes, which is ornamented on the left side with 
 two feathers. Round his neck is a ruff. He has a 
 beard, with moustaches, and wears his hair. The 
 back-ground is clear except on the left side, where is a 
 light shade towards the top of his shoulder. This piece 
 is etched with a light point, and the impressions are 
 weak. It is not common. 
 
 Ito ~ I 
 
250 SUPPLEMENT. 
 
 28 I 3 I HEAD OF A MAN SEEN IN FRONT, IN AN OC- 
 
 TAGON. 
 
 This head is well designed. It has on a fur cap and 
 the hair is frizled. In the back-ground, which is 
 clear on the left, may be read, though with difficulty, 
 Rt. (P. Tver has not mentioned the size of this 
 piece.) 
 
 29 132 BUST OF AN OLD MAN WITH A WHITE BEARD. 
 
 He wears a cap with a border, and has a white 
 beard. The body, which is covered with a cloak 
 turned up with fur, is placed on the left, and directed 
 towards the right, from whence the light comes in. 
 The back-ground is entirely white. This portrait is 
 well finished, has a great effect, and is rarely to be 
 met with. 
 
 2 — i — T — 
 
 i -io 
 
 3O—I33 PORTRAIT OF TITUS THE SON OF REM- 
 BRANDT. 
 
 This is the bust of a young man placed in the mid- 
 dle of the print. It is mentioned in M. de Burgys 
 catalogue, as a piece extremely rare. It is executed in 
 a very hard manner with coarse strokes ; and there 
 are some connoisseurs who alledge, that it is etched 
 on pewter. However that may be, he is represented 
 with his hair in part bristly, and in part frizled, which 
 falls on his left shoulder. The body is a little turned 
 to the right, from whence comes the light, and is 
 clad in a habit with a cape. The ground is white, 
 except a few coarse strokes on the left towards the 
 
SUPPLEMENT. 
 
 head. At the top left corner is written, in reversed 
 letters, Rt. 1630. 
 
 6A“6 t V 
 
 gl — 140 AN OLD WOMAN READING. 
 
 This piece is a very great rarity , and is well etched 
 with a light point. It represents an old woman 
 half-length, and seen a little in profile. She has on a 
 large hat, and wears spectacles. She is placed to the 
 left, and turned towards the right of the print, hold- 
 ing with both hands a book open, in which she ap- 
 pears to be reading with great attention. The back- 
 ground is white, except some few strokes near the up- 
 per part of the face. 
 
 3 — 2 ^ 6 ° 
 
 22 — 141 HEAD OF A WOMAN, A STUDY. 
 
 This sketch is in the corner to the right, and is 
 lightly etched. She is in a cornet cap, and the body 
 is turned towards the right. This piece is regarded as 
 unique. 
 
 2-y\) 2 j # 
 
VIII. DOUBTFUL PIECES. 
 
 33— I42 1 HE ADORATION OF THE KINGS. 
 
 This piece by some, has been placed as a compa- 
 niofi to N°. 342, in Gcrsaint's catalogue, "Jacob and 
 Esau. The etching is hard, and it is at best but in 
 Rembrandt's first manner. The subject is in a stable. 
 Towards the right, is a portico reaching to the top of 
 the print. One of the kings holding a cup, is going 
 from the right to the left. Two other kings are on 
 their knees before the infant Jesus , who is sitting on 
 the lap of the virgin ; one of them presents a salver, 
 in which the infant seems to put his hands ; his head 
 is surrounded with rays of glory. At the bottom are 
 many figures ; one on the right is standing up, and 
 seen from behind. This piece is very scarce. 
 
 10,4 — 8 T V 
 
 34 — 144 A LANDSCAPE. 
 
 This piece is etched with heavy strokes in a dry 
 manner. On the right is a hay-stack of an irregular 
 octagonal form, and near it are two figures, one of 
 which is fishing. In the distance is a church with a 
 
SUPPLEMENT. 
 
 *5 3 
 
 spire, and a mill. There are some trees and a house 
 in the back-ground, but they are very indetermined. 
 
 I A- 6 
 
 35 — 145 A LANDSCAPE, ARCHED AT THE TOP. 
 
 This little piece is lightly etched. In the left cor- 
 ner are two trunks of trees, one of them reaching to the 
 top of the print ; and farther on is a vessel sailing. 
 In front is a man with a staff passing over a bridge, 
 and in the distance is seen a windmill, with some loose 
 sketchings. P. Tver regards this as a very doubtful 
 piece, though it was in M. dc Burgy’s, and several 
 other collections. 
 
 Jt — 5 _?_ 
 
 10 jio 
 
 36 — 146 A LEAF OF SKETCHES. 
 
 In this piece some affect to discover the manner of 
 Rembrandt. To the right is an old man sitting, 
 holding a paper in his hand, and he has on a very 
 singular cap. Farther on is another old man sitting in 
 a similar cap ; he rests his left hand on a table placed 
 between them, and his right on his knee. At his 
 side is a figure standing, holding a book and seeming 
 to speak. Farther off are two figures, engaged with an 
 old man on his knees, as if begging pardon for some 
 fault. In the back-ground to the right is a curtain, 
 with four figures and a vase. 
 
 4 1 "s 5*o 
 
 37 — 147 ABRAHAM SENDING AWAY HAGAR. 
 
 The patriarch is seen in front, in the middle of the 
 print, on a step before the door of his house. At his 
 side appears Hagar departing, and wiping the tears 
 
*54 
 
 SUPPLEMENT. 
 
 from her eyes ; she carries a bundle of clothes under 
 her right arm, and a pitcher hangs at her side. 
 Ishmael is seen from behind with a staff in his hand. 
 The building takes up half of the back-ground on the 
 left. 
 
 4rV — 3 A 
 
 38 — 148 the ecce Homo. 
 
 In this piece our lord is seen standing, a little turned 
 towards the right of the print, from whence the light 
 comes in ; his hands are joined and hang down before 
 him ; behind him are two yews, one of whom wears 
 a cap ; the other turns to look at him, and presents 
 the reed to him. Before him is a young boy with a 
 a torch. This piece is very scarce. 
 
 5 A ~ 3to 
 
 39 — 149 BUST OF AN OLD MAN SLEEPING. 
 
 He has a great white beard, and his hair is bristly ; 
 he is placed on the right, but turned towards the left 
 of the print, and is in the attitude of a man sleeping. 
 His cloak is full of strokes on the right side ; the 
 rest of it is only sketched. The back-ground is en- 
 tirely white. 
 
 Z 6 „ 6 
 
 b 1 77 5 » "s - 
 
 40 — >150 BUST OF A MAN SEEN IN FRONT. 
 
 This piece is well etched in a good taste. He has a 
 serious air and fixed attention ; his hair is a little 
 frizled, and his beard thin. The body is turned to- 
 wards the left, and upon his shoulder is a large ban- 
 doleer with a clasp of jewels. The back-ground is 
 white, except a few strokes towards the top of the 
 
SUPPLEMENT. 255 
 
 shoulder. This piece is not common. It measures, 
 including a margin at the bottom, 
 
 6 rc> — 5 ^ 
 
 41 151 BUST OF AN OLD MAN. 
 
 His face is a little turned towards the right, he 
 wears his own hair, • and has a beard. His habit, 
 
 - which has a cape, is a little open at the top, where 
 two or three buttons appear. This piece, which is 
 firmly etched, though with a light point, is very 
 much sought after by the amateurs. The ground is 
 white, and it measures, including a margin, 
 
 S^o — 4 
 
 42 - r-I 52 SAINT JEROME. 
 
 He is placed to the right, and his body is a little 
 turned towards the left of the print ; he holds in his 
 hands, which are joined, a death’s head and a great 
 staff. His habit has a little cape. The back-ground 
 is entirely white. 
 
 5-^—4 
 
 43 — 153 AN OLD MAN READING. 
 
 He is placed on the left, and is turned towards the 
 right. He has a great beard but little hair, and his right 
 ear is discovered ; his cloak is in large folds. He ap- 
 pears to read with much attention in a book which he 
 holds in his right hand. This piece has a good effect. 
 4— 2f 9 o 
 
 44 I54 AN OLD MAN SEEN IN PROFILE. 
 
 He has a bald head, and moustaches on his upper 
 lip and chin. He is turned towards the right. The 
 body is not made out, but the beginning of a fur 
 R 
 
z$6 
 
 SUPPLEMENT. 
 
 border round his neck may be perceived, and some 
 little strokes towards the head. All the rest is white. 
 It is etched with much spirit. 
 
 3ts — 2-ro 
 
 45 — *55 BUST OF A MAN IN PROFILE. 
 
 He is turned towards the right, and has a cap on in 
 shape of a turban ; he is clad in a fur habit. The 
 back-ground is white. This print is very scarce , and 
 measures, including a margin, 
 
 2 -- O— — 
 
 3 i o *• i o 
 
 46 — I 56 BUST OF AN OLD MAN. 
 
 He is placed in the middle of the print. His head 
 is turned towards the right, from whence the light 
 comes in, and the body is turned to the left. His 
 head which has been shaved is thinly covered with 
 hair ; his cloak is a little open before. The back- 
 ground is white, except a few strokes at the top on the 
 left. On the right, towards the bottom, is written, by 
 another hand, R. V. R. 
 
 3 — 2/0 
 
 47— "- I 57 bust of an old man in profile. 
 
 This piece is lightly etched with spirit. He is 
 placed on the right, and turned towards the left. His 
 hair falls down on his forehead which is inclined. 
 His beard is large and downy. There are a few strokes 
 in the left corner, the rest of the back -ground is 
 white. Some connoisseurs pretend that it is done by 
 Peter j| 'uast , but from it’s spirit, it appears to be the 
 work of Rembrandt , or one of his best scholars. 
 
 3to — 2^ 
 
SUPPLEMENT. 
 
 *57 
 
 48 — 158 A PIECE WROUGHT IN THE DARK MANNER. 
 
 It represents the figure of a woman nearly a half- 
 length, with a fine front face. The head is a little 
 turned towards the right, the hair is loose ; a string 
 of pearls hangs round her neck, and she is clad in a 
 robe open before. Her right hand rests upon her 
 breast, and her left upon her robe. All the back- 
 ground is covered with little strokes. 
 
 2-^ 
 
 I O ^10 
 
 4g — BUST OF A MAN ETCHED IN A DRY MANNER. 
 
 He is placed in the middle of the print ; his hair is 
 frizled and bushy, his attention is fixed. The body, 
 which is only in part sketched, is covered with a cloak 
 in folds, which is open at the neck. The back-ground 
 is white^ except some hatchings in the left corner 
 near the top of the face. 
 
 4 — 1 A 
 
 50 — l6o HEAD OF A BALD OLD MAN. 
 
 This piece is lightly etched. He is seen in profile 
 placed on the left, and turned towards the right. The 
 body is wrapped in a cloak bordered with fur, and 
 fastened with a clasp. The back-ground is covered 
 with hatchings, except in th^ right corner towards the 
 nose. Ad. de Burgy placed it among the works of 
 Rembrandt , but P. Tver did not believe it to be his. 
 
 2_3_ __ I- 9 - 
 
 I O A I o 
 
 161 HEAD OF AN OLD MAN IN A ROUND CAP. 
 
 It is a full face, with his left ear seen through the 
 hair ; he has a great white beard, with a round cap 
 
SUPPLEMENT. 
 
 bordered. This is a beautiful piece, scarce , and much 
 sought after. 
 
 2 — — — I 8 
 "I O 1 I o 
 
 52—162 a man’s head in the manner of castig- 
 
 LIONE. 
 
 This is a full face and lightly etched. He wears 3- 
 cap with folds, which covers part of the eye and left 
 ear, and the hair hangs down on the shoulders. The 
 body is turned to the left and is covered. This piece 
 is etched with a fine point in a very good taste, much 
 in the manner of Castiglione. 
 
 53 — 163 THE PORTRAIT OF KLAAS VAN RYN. 
 
 He is seen in front, sitting in an elbow chair, with 
 his right arm resting upon it, the hand being placed in 
 his breast. He wears a pointed cap, and has a bushy 
 beard reaching from ear to ear. A clasp and some 
 buttons are seen on his vest. Towards the top left 
 corner, among some hatchings seen above the back of 
 the chair, is written Rembrandt f. 1644; there are 
 likewise a few single strokes in the back -ground, op- 
 posite to his left shoulder. In the margin is written 
 Klaas van Ryn out go Jaar 1644, 
 
 Some persons pretend that this is the portrait of 
 the father of Rembrandt, who was a miller, and lived 
 on the banks of the Rhine, in the jurisdiction of 
 Haserswoude, one league from Leyden, in Holland. 
 P. Tver says, that though he has found this portrait, 
 which is truly scarce , placed among the etchings done 
 
SUPPLEMENT. 
 
 *59 
 
 by Rembrandt , in most collections of his works; and 
 (as well as in others) in that of M. de Burgy , 
 N°. 218 ; yet he placed it among the doubtful /ones, 
 as not believing it to be done by the hand of 
 Rembrandt. 
 
 3 To — 2 
 
 END OF THE SUPPLEMENT. 
 

 
 
 I 
 
 
 - ' ■ • 1 ; 
 
 
 
 ’ ‘ ■ . ■ 
 
 
 
 
PRINTS 
 
 AFTER THE 
 
 PICTURES AND DESIGNS 
 
 OP 
 
 REMBRANDT, 
 
 BY 
 
 OTHER ENGRAVERS. 
 
I. PORTRAITS OF REMBRANDT, 
 
 AND 
 
 HIS FAMILY. 
 
 S Jl ortrait 6f Rembrandt drawing ; mezzotinto by 
 Van Gale. Catalogue N°. i, 12 ~^ — 
 
 2 The same subject ; an etching, 5^ — 4^. 
 
 3 Bust of Rembrandt. Vignette to JDe Burgy's catalogue 
 
 of Rembrandt's prints; etched by Simon Fokke, 1755, 
 
 o 3 0 9 
 
 Z TS- z Tc5* 
 
 4 Portrait of Rembrandt when young. In the collection 
 1 of the Marquis Gerini, at Florence ; engraved by 
 
 J. G. Seuter , 13^ — lo T V 
 
 5 The same portrait ; mezzotinto by C. Townley , 1778, 
 
 — n x V 
 
 6 Portrait of Rembrandt when very young ; etched by 
 
 G.F. Schmidt, 177 r, 6^ — 4^. 
 
 7 Portrait of Rembrandt when young. In the collection 
 
 of the D. of Ar gyle ; etched by T. Worlidge, 9 — 6^. 
 
 8 Portrait of Rembrandt from the same ; mezzotinto by 
 
 D. Martin, 1765, 6 — 4^. 
 
 ■ 
 
264 
 
 PRINTS AFTER REMBRANDT. 
 
 9 Bust of Rembrandt ; an etching; marked J. H. S. 
 8A-6A. 
 
 10 Portrait of Rembrandt ; etched by Sir T. Reeve , 
 
 2to—2tV 
 
 1 1 Head of Rembrandt ; an etching marked, Rembran. h . 
 
 c 'j • 6-nj — 5 tcS' 
 
 12 Portrait of Rembrandt in the mezetin cap; etched by 
 
 JVorlidge , 4 T 7 Q - — 3^. 
 
 13 Portrait of Rembrandt. In the collection of the Duke 
 
 of Montague ; mezzotinto by R. Ear lorn, 1767, 
 20 — 14. 
 
 14 Portrait of Rembrandt ; mezzotinto by VanBleeck, 1747, 
 
 14 — 10. 
 
 15 Portrait of Rembrandt. In the Dusseldorff collection ; 
 
 etched by Hess, 13^0 — 9. 
 
 16 Portrait of Rembrandt. In the Choiseul collection ; 
 
 etched by C. W nsbrod, 6 — 4-^5. 
 
 17 Portrait of Rembrandt with a pallet in his hand. In 
 
 the collection of the C. De Fence ; etched by De 
 
 Marcenay , 7^ — 5-A7. 
 
 18 Portrait of Rembrandt. In the Vienna collection ; en- 
 
 graved by Prenner, 8-/^ — 6^. 
 
 19 Portrait of Rembrandt. In the Medici collection ; 
 
 mezzotinto by C. Townley, 1777, 16^ — II T S 5. 
 
 20 The same portrait ; etched by G. F. Schmidt , 1771, 
 
 companion to N°. 6, 6 T V — 4 to- 
 
 2 1 Portrait of Rembrandt' s father sitting in an elbow chair, 
 
 with a large staff in his hand ; by Surugue le Fils. 
 
 22 Portrait of Rembrandt’s father ; mezzotinto by Green- 
 
 wood. 
 
PRINTS AFTER REMBRANDT. 265 
 
 23 Portrait of Rembrandt's mother reading, and sitting on 
 
 a carved seat, with her right foot on a Dutch stove ; 
 etched by V an Vliet , 1 1 — 8^. 
 
 24 Portrait of Rembrandt's mother praying. In the col- 
 
 lection of Sieur Godskoffskv ; etched by G. F. Schmidt , 
 6 tt 5 — 5- 
 
 25 Portrait of Rembrandt' s mother reading. In the col- 
 
 lection of Mr. Edward Scarlett , optician to his Ma- 
 jesty ; mezzotinto by Me. Ardell , 14 — 10. 
 
 26 Portrait of Rembrandt' s mother reflecting on what she 
 
 has been reading. In the collection of M. de Winter ; 
 mezzotinto by P. Lauw , 13^ — 9^. 
 
 27 Portrait of Rembrandt' s mother paring her nails. In 
 
 the collection of Mr . Ingham Foster ; mezzotinto by 
 J. G. Haid , 1764, 20 — 14. 
 
 28 Portrait of Rembrandt' s mother plucking a fowl ; mez- 
 
 zotinto by R. Houston , 14 — 10. 
 
 29 Portrait of Rembrandt's mother, sitting before a table 
 
 with a book open. In the cabinet of M. Glume , 
 painter; etched by G. F. Schmidt , 1774, 8 T ^ — 7^. 
 
 30 Portrait of Rembrandt's mistress, with his mother ; 
 
 mezzotinto by J. G. Haid , 1767, 20 — - 14. 
 
 31 Portrait of Rembrandt's wife; by W. P. Leeuw , 8^ 
 
 5 tV 
 
 32 Portrait of Rembrandt's wife ; mezzotinto by W. Pether. 
 
 33 Portrait of Rembrandt's wife. In the Houghton col- 
 collection ; mezzotinto by R. Earlom , 1777, *8 — 12. 
 
 34 Portrait of Rembrandt' s sister ; mezzotinto. 
 
II. PORTRAITS. 
 
 Six portraits of men ; etched by Van Vliet y viz. 
 
 1 A three-quarters* with the hair frizled 1634* 
 
 9 ‘ 7 rs‘ 
 
 2 Philon the Jew in a fur cap, with a scarf round the 
 
 bottom of it, 1633, 8^ — 7 re* 
 
 3 A Polander in a turban, with a plume of feathers and 
 
 jewels, 9— -7 t V 
 
 4 A Philospher, or minister, in a calotte, 1634, 8-^ — 7^. 
 
 5 Judas Iscariot , from a capital picture by Rembrandt , 
 
 of Judas returning the thirty pieces of silver, 1 634, 
 
 9 ‘ 7 To * 
 
 6 An officer with a gorget, laughing, 9 — 7-rV 
 
 7 Mariana in a veil ; W. P. Leeuw , 9-^ — 6—. 
 
 8 A young man in a cap and feather ; by the same, 
 
 7t% — 6 X V 
 
 9 An officer in profile, with a gorget and chain, and a 
 
 fur cap with feathers in it ; etched by Van Vliet , 163 i K 
 
 5to— 5to- 
 
 10 An old man’s head in front with moustaches , in a ca- 
 
 lotte ; by S. Savry , 7^ — 5^. 
 
 11 A Philosopher’s head, a wood print, 2to- — 2. 
 
PRINTS AFTER REMBRANDT. 
 
 267 
 
 12 An old man with a long beard, in a cap and ruff, sitting 
 
 in an elbow chair ; by Suyderhoef, \ 13 — io—. 
 
 1 3 The same portrait ; etched by A. Conradius , 1 3 — 10-^. 
 
 14 Portrait of a man in a large hat. In the cabinet of 
 
 Anth. Cousin ; engraved by N. Dupuis jun. 10^ 8 T V 
 
 15 Portrait of a man writing ; engraved by Pillule. In the 
 
 collection of C. de Brithl. 10JL — 8 -^- 
 
 7 TO v 10 
 
 16 Portrait of an old man sitting with his hands joined to- 
 
 gether. In the same collection ; by the same, 
 
 IO To &To‘ 
 
 17 L' m i de Rembrandt. In the collection of M. Frey ; 
 
 etched by Romanet , 8 T 9 5 — 6 T 8 ^. 
 
 18 An old man in front in a ruff, the forehead bald; 
 
 marked Rt. in; etched in the manner of Livens. c~ 
 
 > JIO 
 
 19 Bust of an old man ; by H. Dtheir , 1633, 6 T 7 S 5JL. 
 
 20 A man sitting at a table with a book before him ; etched 
 
 by Livens. 
 
 21 A man in armour, on a horse richly caparisoned ; by the 
 
 same. 
 
 22 Admiral Van Dorp Ridder, &c.by S. Savery, 4^. 
 
 23 A small portrait of Van Tromp. 
 
 24 An officer in a cap with feathers behind. In the Vienna 
 
 collection ; engraved by Prenner , 8 T 9 ^ — 6 T V 
 
 2 5 man in a hat and feathers. In the same col- 
 lection ; by the same. 
 
 26 A young man in a round cap, reading. In the same 
 
 collection ; by the same, engraved on the same plate 
 with N°. 25, 6A— 8 T V 
 
 27 P01 trait of Swalmius , etched by Suyderhoef , 13^ — io T ^-. 
 
2 68 PRINTS AFTER REMBRANDT. 
 
 28 An old man’s head, full face, in a cap and long beard ; 
 
 mezzotinto by W. V aillant, 7 tV — 5tV 
 
 29 The same subject; mezzotinto marked P.V. S. F. 
 
 6 ,~o — — 4 tct * ' 
 
 30 Portrait of "John Six ; by IF . V aillant. 
 
 31 An officer carrying a pair of colours; by P . Louw. 
 
 32 Portrait of M. Butner ; mezzotinto by J. Greenwood. 
 
 33 Portrait of Moses Henriques , a Portuguese Jew. 
 
 34 Lucien Auteur Grec ; mezzotinto — 4 t 6 o* 
 
 33 Portrait of a Jewess ; mezzo, by C. Corbutt , 6rs 
 
 36 A young woman, half-length ; in the cabinet of the 
 
 King of Denmark ; by J. M. Preisler Gr. du Roi. 
 
 37 An old man with a great beard and bald head. En 
 
 invents crines ct bar bam, &c. Val. Dan. Preisler, 
 Norib. sc. et exc. 1756. 
 
 38 Bust of a man in a turban. In the cabinet of M. de 
 
 Hartman Conseiller, See. ; by Preisler, 1761. 
 
 39 The Persian by J. Daulle. 
 
 40 Bust of a man with a great frizled beard by J. Lauw. 
 
 41 Portrait of a young officer. Rembrandt pinxit, 1634. 
 
 42 Le Peseur D'Or, by J. Vanderbruggen. 
 
 43 Portrait of an officer in a large bordered hat with a 
 
 feather ; by J. Stolker. 
 
 44 Portrait of an old woman in a cornet cap, and a ruff 
 
 round her neck. At the bottom is written Avia ; by 
 the same. 
 
 43 Portrait of an old man, his hair frizled, with moustaches, 
 his hat on and ruff plaited ; by the same. 
 
 46 Bust of an old man with short frizled hair, and mous- 
 taches, an oval ; etched by A. Riedel , 1754* 
 
PRINTS AFTER REMBRANDT. 269 
 
 47 -^ n man with a large hat adorned with pearls, with 
 
 his hands folded ; by the same, 1755. 
 
 48 Portrait of an officer in a toque ; by the same, 1755. 
 
 49 -A* 1 oriental head, in a turban with two tassels, in profile ; 
 
 by the same, 1755. 
 
 50 An old man, half-length, in a bonnet, with long hair 
 
 and moustaches ; by the same. 
 
 51 A young man leaning on a pedestal ; with eight French 
 
 lines, beginning V tens Fir cis &c. ; engraved by Su - 
 rogue io T ‘ s — 7*5. 
 
 52 Portrait of Jeremiah Dekkcr ; mezzotinto by Arent Van 
 
 Halen, — 5^. 
 
 53 L in gen\eux .Merlin Anglois ; etched in an oval with 
 
 arms, and a cypher at the top corners, — 4^. 
 
 54 The large Coppenol ; by Surague. 
 
 55 The Goldweigher with the monkey ; mezzotinto by 
 
 Van B leech , very scarce, llxu — 8 T V 
 
 56 The Burgomaster Six , mezzotinto, 13/^ — q T 8 _. 
 
 57 The same, an oval in a square ; mezzotinto by Hous- 
 
 ton, 1762, 6 — 4-jV 
 
 58 An old man in an elbow chair, his hands joined toge- 
 
 ther In the Pal. Pitti at Florence ; engraved by 
 F Ver. Cruys, 13^— io T V 
 
 59 A man sitting with a large hat on his head ; mezzotinto 
 
 by J. G. Haid. 
 
 60 A Dutch officer with long hair ; mezzotinto by the 
 
 same. 
 
 61 P01 trait of a man in the Dresden gallery ; by P. Fange , 
 
 *3™ — i°- 
 
 62 Bust of a man in the mezetin cap. Rembrandt , e.f. 
 
 3tV 
 
PRINTS AFTER REMBRANDT, 
 
 a 70 
 
 63 Profile of a young man ; etched by A. Pond , 7 -re 5 t5* 
 
 64 Portrait of an Oriental , half-length ; etched by G . F. 
 
 Schmidt , one of his first essays, 1735, 2 t<s — 2 X V 
 63 A young man stooping, a full face, in a mezetin cap ; 
 
 by the same, 1753, 4r^ — 3^* 
 
 66 A woman reflecting on what she has been reading. In 
 
 the collection of M. Glume ; by the same, 8/^ — 7 tV 
 
 67 An old man with short hair, and a long beard, nearly in 
 
 profile; by the same, 1757, (not in Schmidt’s cata- 
 logue) 4 t<5- — 3tV 
 
 68 La Poilleuse , a beggar woman extending her left hand 
 
 for charity ; by the same, 1755’ 4 to — 3tV 
 
 69 An old man in a Persian dress ; his right hand on a 
 
 stick, his left in a girdle. In the cabinet of M. Gods- 
 koffsky ; by the same, 1756, 6 x 5 o — 5 tu« 
 
 70 A man in profile, in a cap ; with a fur gown, a chain 
 
 and medallion ; by the same, 1758, 61V"" 5* 
 
 7 1 The same subject, 5 — 4. 
 
 72 A young man, full face, with frizled hair, with a chain 
 
 and medallion ; by the same, 1754, 4-A> — 3^°’ 
 
 73 A young nobleman leaning on a wall, in a rich robe 
 
 and mezetin cap. In the collection of the Count de 
 Kamcke ; by the same, 1763, 8 — 6 T 2 5 . 
 
 74 A lady with a fan in her hand, and pearls in her hair, 
 
 richly dressed ; companion to the last ; by the same, 
 8 — 6 r V 
 
 75 La Princesse D ’ Orange, by the same, 1767, 7 -G — 6^. 
 
 76 Bust of a young man, his head uncovered. In the ca- 
 
 binet of M. le Conseiller Trible ; by the same, 1768, 
 
 5 to — “ 4rV 
 
PRINTS AFTER REMBRANDT. 271 
 
 77 La Juive Fiancee. In the cabinet of Count De Kamcke \ 
 
 by the same, 1769, 9^0 — 7 tV 
 
 78 La Pere de la Fiancee reglant sa Dot-, in the sarrte 
 
 cabinet, and by the same, 1770. Companion to the 
 last, 9-^ — 7 to 
 
 79 A gentleman and lady walking in a garden. In the 
 
 collection of the Count de Pence ; etched by De 
 Marcenay , 1775, 7^ — 9^ 
 
 80 Bust of an old man ; by the same, 3 — 2 T %. 
 
 81 La Vieillard Atrabilaire ; by the same, 1 7 64, 5-^, — 4^. 
 
 82 La Dame a la Plume , an oval; by the same, 1768, 
 
 Jio iTo 
 
 83 La Vieillard a la Toque , an oval ; by the same, 177 1, 
 
 5 To — 4ro. 
 
 84 Portrait of Flinck the painter. In the Dusseldorff col- 
 
 lection ; etched by Hess, 8— — ■ 6 ~. 
 
 85 Portrait of Flinck' s wife. In the same collection ; by 1 
 
 the same, 8 T V — 6 T V 
 
 86 Bust of a man, in a large cap, stooping. In the cabinet 
 
 ofM. Poullain ; etched, Bassan dir exit, b~ s — 4^. 
 
 87 Ragotski Sigismond, Prince of Transylvania ; mezzo- 
 
 tinto. by M. Jackson, 1 1 — — 8-^0 . 
 
 88 The same; mezzotinto by Bernard Picart , to-/* 
 
 — 7to. 
 
 89 A man in his study. In the collection of Afr. Hudson ; 
 
 etched by T. Worlidge, j-~ — 
 
 90 An old man in a mezetin cap with a great beard, and 
 
 his hands joined together, a line beginning Agli, &c. 
 Two different impressions; by Captain IV. Baillic , 
 
 1 1 ^Tq —• 9'T?’. 
 
 s 
 
272 
 
 PRINTS AFTER REMBRANDT. 
 
 91 A warrior leaning his right arm on a rock, and holding 
 his pike against his shoulder with his left hand ; en- 
 graved, 8 t 7 - 0 — 6 t V 
 
 92 A warrior with a sword in his hand. In the col- 
 lection of the Earl of Besborough ; mezzotinto by 
 W. P ether, 1764, 20 — 14 
 
 93 An old man in a large cap, with a bushy beard, his 
 hands nearly hid in his cloak ; engraved, 1 1 -— — 7-rV 
 
 94 An old man in a cap and cloak, with a chain ; a cane in 
 his right hand, and a glove in his left ; engraved by 
 Danzell , size of the subject io T %- — 87-5-. 
 
 95 The same subject reversed ; engraved, 13 — 10. 
 
 96 The Dutch lady, an oval ; mezzotinto by Read, 1776, 
 io T V — 8. 
 
 97 An old man’s head, full face, with a cap on, and a long 
 beard ; mezzotinto, 6 T -<5 — 5. 
 
 98 A man in a turban, with a short thick beard. In the 
 collection of M. Ketclaar ; mezzotinto by P. Louw, 
 1 2 rV 8 f V. 
 
 99 The pen-cutter ; mezzotinto by R. Houston, 14 — 10. 
 
 100 A man with a knife in his right hand ; his left sup- 
 porting his chin. In the collection of John Black- 
 wood, Esq. mezzotinto by R. Houston, 14 — 9 ra- 
 id The same subject; mezzotinto by C. Phillips ^ 
 
 — 4-.V- 
 
 102 The same subject. In the middle is written R. I. 
 small size. 
 
 103 The same subject, by J. De Groot. 
 
 104 The Burgomasters. In the academy in the Stadt- 
 house, Amsterdam ; mezzotinto by R. Houston, 
 18 — 20 A. 
 
PRINTS AFTER REMBRANDT. 
 
 273 
 
 105 Renter Hanslo in his study with his wife. In the col- 
 lection of Sir L. Dundas ; mezzotinto by Josiah 
 Boy dell, 1781, 21 — 17-A5-. 
 
 106 Portrait of a man with moustaches and black curling 
 hair, in a square hat, neck-band and tassels, with his 
 right hand on his breast ; mezzotinto by B. Richards , 
 J 3 — 9 - 
 
 107 A woman in an oval. The face light, and inclining 
 towards the left ; mezzotinto, 13A-. — to. 
 
 108 Bust of an old man nearly full face, in a large cap, 
 with a long beard. In the collection of the Duke of 
 Argyle ; mezzotinto by T. Watson , 14^ — n. 
 
 109 Portrait of De Witt. In the collection of H. Isaac , 
 Esq. mezzotinto by J. G. Haid, 1765, 20 - — 14. 
 
 1 10 Portrait of Prince Rupert. In the possession of Air. 
 Orme ; mezzotinto by V. Green, 1755, 20 — 14. 
 
 1 1 1 Achilles. In the collection of Sir J. Reynolds ; mez- 
 zotinto by J. G. Haid, 1764, 20 — 14. 
 
 112 A man in a hat and feather, with a glove in his right 
 hand, and a staff in his left. In the collection of 
 Sir J. Reynolds ; mezzotinto by W. Pether, 20 — 14. 
 
 1 13 The Jew Rabbi. In the collection of the Duke of 
 Devonshire ; mezzotinto by W. Pether, 1764, 20— -14. 
 
 1 r 4 The same ; by the same. The hands and breast- 
 clasp, more kept down in shade, 1778, 20—14. 
 
 1 15 Companion to the Jew Rabbi. A man in a cap, with 
 a chain and cross, his right hand holding a scroll, his 
 left drawing a curtain aside. In the collection of the 
 Duke of Newcastle ; mezzotinto by W. Pether, 1766, 
 20 - — 14. 
 
PRINTS AFTER REMBRANDT. 
 
 174 
 
 116 Rembrandt's frame maker, in a large hat and ruff. 
 In the collection of the Duke of Ancaster ; mezzotinto 
 by Dixon , 20 — 14. 
 
 1 17 A man sitting in an elbow chair, in a high crowned 
 hat, with a ruff and pointed beard. In the collection 
 of J. Barnard , Esq. mezzotinto by R. Houston. 
 
 13-nr — 9 to- 
 
 1 18 The same ; mezzotinto by C. Phillips, 6 — 4-1 5 -. 
 
 1 19 An old man’s head with a white beard ; mezzotinto 
 by R. Houston , 4-/ — 4. 
 
 120 An old woman’s head ; mezzotinto by the same, 
 
 4th 3 * 
 
 12 1 Portrait of Van Tromp ; mezzotinto by G. Graham , 
 1794, 15 — 11. 
 
IH. LANDSCAPES. 
 
 AND 
 
 SEA PIECES. 
 
 i, 2 i. wo landscapes arched ; engraved in England , 
 1651, marked T. D. 
 
 3 Landscape, a night piece. Peasants and cattle before a 
 
 fire under a tree, at the foot of a hill on which is a 
 castle. In the collection of H. Hoare , Esq. engraved 
 by J. Wood , 1752, 14-^ — 19. 
 
 This print was republished in 1774, by Boydell y under the 
 title of A Fire-light. 
 
 4 Commencement d'Orage. In the Cab. of Count de Vence ; 
 
 etched by De Marcenay , 1778, lo T V — n T V 
 
 5 Landscape in the collection of P. Delme t Esq. etched 
 
 by Chatelain , 1 2 A — 1 5 A* 
 
 6 Landscape with a fortified castle. In the Choiseul ca- 
 
 binet ; etched by T. Baillet , 6-^3 — 8 T ^. 
 
 7 A sea piece, a gale of wind. In the same cabinet; 
 
 etched by Delvanys , 4.— — 6. 
 
 8 A small landscape, in which is a woman and an ass ; by 
 
 P. Louw. Oblong. 
 
 9 Another with two boys laughing ; by the same. Upright. 
 
IV. SCRIPTURE SUBJECTS 
 
 FROM THE 
 
 OLD TESTAMENT. 
 
 1 JL/ot and his daughters, with the city of Sodom on fire 
 
 in the distance ; etched by Van Vliet, 1631, 11 — 8^q. 
 
 2 Lot and his daughters. In the collection of Prince 
 
 Henry of Prussia ; etched by G. F. Schmidt. 
 
 3 Abraham offering up his son Isaac. In the Houghton 
 
 collection ; mezzotinto by J. G. Haid , 1767? 
 21 — 14. 
 
 4 Abraham' s sacrifice. The same subject ; mezzotinto ; 
 
 by J. Murphy , 1781, 20 — 14. 
 
 5 Le Patriarche Jacob. In the collection of M. Cesar ; 
 
 etched by G. F. Schmidt , 1757, 4t-q — 3ro* 
 
 6 Joseph accused to Potiphar by his wife ; etched by 
 
 Exshaw , 20 ~ — 17-^-. 
 
 7 Moses presented to Pharaoh's daughter. In the Choiseul 
 
 collection ; etched, Bassan direxit. 5 T 8 g — 7^. 
 
PRINTS AFTER REMBRANDT. 
 
 277 
 
 8 The sacrifice of Manoah. In the Dresden gallery ; 
 
 engraved by jfacob Houbraken, I5 T V — 16/0- 
 
 9 Samson trahi par Dalila, In the collection of Count de 
 
 Schoonborn Heussenstam ; inezzotinto by J. Jacobc, a 
 Vienne, 1786, 20— — 23^- 
 
 10 The same subject ; engraved by F. Lander er. 
 
 1 1 David playing on the harp before Saul ; by W. P. 
 
 Leeuw, i6 t 8 q — 13. 
 
 12 Bathshcba discovered bathing, by King David. In the 
 
 the collection of M. Poullain ; etched by Le Grand , 
 6 — 7ro • 
 
 13 David & Bethzabee. In the collection of Count de 
 
 Bruhl ; etched by J. M. Moreau , 1763, 15^.3. 
 - 18-A. 
 
 14 Absalom humbling himself before King David. In the 
 
 collection ofy. Purling , Esq. ; engraved by^. Fittler , 
 for the Unique Bible , 7 — 4— Q . 
 
 15 Elijah raising the widow’s son. In the collection of 
 
 H. Hoare, Esq.; mezzotinto by R. Earlom , 1768, 
 20 — 14. 
 
 16 Eliseo che p'redise i Regi attentati contro se stesso. 
 
 Elisha prophesying his own danger. In the collection 
 of Sign. Bartolo Bernardi A. S. Apollinare Venezia; 
 engraved by Pietro Monaco , 19 ■ — I3t 5 -o* 
 
 17 Haman (A Mordecai ; mezzotinto by 'J. G. Haid. 
 
 18 Haman' s condemnation. In the collection of J. Black- 
 
 wood, Esq. mezzotinto by R. Houston, 1775, 20—14. 
 
 19 Belshazzar beholding the handwriting on the wall. 
 
 In the collection of T. Fulwood, Esq. ; mezzotinto 
 by H. Hudson, lUS' T 9 — 2 4ro- 
 
278 PRINTS AFTER REMBRANDT. 
 
 20 Tobias and the angel, going to catch the fish. In the 
 
 collection of A 4 r. Reynolds ; mezzotintc by Me. Ar - 
 dell, 19/0 — 1 3ro. 
 
 21 Blind Tobit , with his wife spinning ; engraved by 
 
 IV. P. Leeuw , 11^0 — 8 t V 
 
 22 Tobit and his wife sitting at their door, waiting their 
 
 sons return. In the collection of M. Cesar ; etched 
 by G. F. Schmidt , 1773, 8 t S q — 9--. 
 
 23 Tobit receiving his sight. In the collection of the 
 
 Marquis D' Argemon ; etched by A. De Marcenay t 
 1 755» 1 *to 8to* 
 
 24 The same subject ; mezzotinto by Greenwood. 
 
 25 The angel departing ftom Tobit and his family. In the 
 
 collection of N. Hone , Esq. engraved by A. Walker , 
 
 20^0— 15- 
 
 26 Susannah and the elders. In the collection of Sir 
 
 J. Reynolds ; mezzotinto by R. Earlom , 1769, 
 18 — 21. 
 
V. SCRIPTURE SUBJECTS 
 
 FROM THE 
 
 NEW TESTAMENT. 
 
 1 The nativity; mezzotinto by Bernards , 16-nj 
 
 2 The adoration of the shepherds ; by Falbe. 
 
 3 The nativity. In the Dusseldorff collection, arched ; 
 
 etched by Hess, 13-^ — 9-^ 
 
 4 The elevation of the cross. In the same collection ; 
 
 by the same, 13^ — g,V 
 
 5 The descent from the cross. In the same collection ; 
 
 by the same, 13A — 9^. 
 
 6 The burial. In the same collection ; by the same, 
 
 I 3 9to> 
 
 7 The resurrection. In the same collection ; by the 
 
 same 13A — 
 
 8 The ascension. In the same collection ; by the same, 
 
 i 3ts — 9to* 
 
aSo PRINTS AFTER REMBRANDT. 
 
 9 Jesus Christ disputing with the doctors in the temple. 
 In the collection of the Elector of Munich ; etched by 
 the same, 1786, 17^ — 14,^. 
 
 10 The same subject ; mezzotinto by Greenwood. 
 
 11 The head of our saviour in profile ; mezzotinto, 
 
 4tV 
 
 1 2 Saint John ; mezzotinto by Vaillant , — 6-^. 
 
 13 The Holy Family. In the cab. of the D. de Praslin ; 
 
 etched by Martini and Le Bas , — 8. 
 
 14 The presentation in the temple. In the cabinet of 
 
 M. Le Brun ; etched by Wcisbrod and Le Bas , 
 9 — 6/0 • 
 
 15 The presentation in the temple. In the collection of 
 
 the Hon. Horace Walpole ; mezzotinto by R. Earlom f 
 1767, 20 — 14. 
 
 16 Jesus and the Samaritan woman at the well ; etched by 
 
 Livens, 2 r % — 3.^. 
 
 17 The same subject. In the collection of J. Blackwood , 
 
 Esq. mezzotinto by R. Houston, 1775, 16 — 20. 
 
 18 Our Saviour with his disciples, in the storm at sea. 
 
 In the possession of M. Braamcamp , Amsterdam ; 
 etched by Exshaw, 1760, 25— — • 20. 
 
 19 Jesus Christ driving the money changers out of the 
 
 temple ; by Sol. Savry, 16 — 20 T V 
 
 20 Jesus Christ raising the daughter of Jairus to life. In 
 
 the collection of M. Cesar ; etched by G. F. Schmidt , 
 I 7 6 7 > 9 t <5 — ioAj- 
 
 21 The good Samaritan. In the Choiseul collection ; 
 
 etched by Binet, 6 — 4-?^. 
 
 22 The lord of the vineyard paying his labourers, in the 
 
PRINTS AFTER REMBRANDT. 
 
 281 
 
 collection of H. Isaac, Esq. ; engraved by S. F. 
 Ravenet, 20 ^ — 17. 
 
 23 The same subject ; mezzotinto by TV. Pether , 20 — 16. 
 
 24 The same subject ; engraved by Fit tier, 8 T 3 o — 5^0 • 
 
 25 The tribute to Caesar. In the collection of J. Black- 
 
 wood, Esq. ; mezzotinto by Ale. Ardell, 16 — 20. 
 
 26 A Alagdalen. In the collection of AI. FVohlgebohrnen ; 
 
 mezzotinto by J. Kleine , 1 1 JL — 7-^. 
 
 27 Jesus Christ with Nicodemus ; mezzotinto by Green- 
 
 wood. 
 
 28 Philip baptizing the Eunuch ; etched, by Van Vliet, 
 
 1631, 23TC *9 Tty* 
 
 29 The same subject with sixteen Dutch verses ; by 
 
 C. Visscher, 16 — 20—. 
 
 30 The Ecce Homo ; etched by G. F. Schmidt, 1756, 
 
 f\ *L_ . . . c L. 
 
 u 1 o *310* 
 
 31 The descent from the cross. In the cabinet of J. De 
 
 Bary, Amsterdam ; etched by B. Picart, 1730, arched, 
 
 9 ro 7 t ? o' 
 
 32 The same subject, a wood print arched ; by J. B. 
 
 Jackson, 2o t 5 -q — 14. 
 
 33 7 esus Christ laid in the tomb ; etched. Size of the 
 
 subject, 8A — 1 i T |. 
 
 34 7 esus Christ disappearing from the disciples at Emmaus; 
 
 etched by Captain Baillie, 9 X 8 5 — 8 T 'o. 
 
 35 The same subject by Houbraken, 7^ — 5t 7 o« 
 
 Of this there are three impressions. 
 
 The first is the etching only. 
 
 The second is something more finished. 
 
 The third is much in the dark manner. 
 
VI. PIOUS SUBJECTS. 
 
 1 St. jerome, kneeling in a cave, ^finely etched by 
 
 VanVliet , 1631, 14-rW— 
 
 2 St. Jerome sitting at the foot of a tree reading ; by the 
 
 same, 13^ — 8 T V 
 
 3 St. Anastasius reading in a room with a gothic arched 
 
 roof ; engraved by P. Balliu, 1 i T 9 ^ — 
 
 4 The philosopher in meditation. In the Choiseul collec- 
 
 tion. 
 
 5 The philosopher in contemplation. In the same col- 
 
 lection, and etched on the same plate, 8-j% — 4^. 
 
 6 Le Philosophe en meditation. In the collection of the 
 
 Count de Fence-, engraved by Lod. Surague, 1763, 
 9 tt> — 1 1 • 
 
 7 Le Philosophe en contemplation. In the same collection, 
 
 and engraved by the same, 1764, 9^5 — II. 
 
 8 A philosopher in his study, writing, with a globe and 
 
 a large book before him ; engraved. Size of the 
 subject, 11 — 13. 
 
PRINTS AFTER REMBRANDT. 
 
 283 
 
 9 An old man writing. Before him is an hour-glass with 
 
 some books, and a bundle of papers ; etched, 4^ 
 
 A 8 
 
 10 A philosopher ; etched by Rodermont , 6^ — 5-^5. 
 
 11 An old man contemplating over a skull. In the col- 
 
 lection of the Earl of Derby , etched by H. JVinstanley , 
 8 X \- 6 t V 
 
 12 Les Marts Enseveles. F. Basan exc. 
 
 13 The studious philosopher. In the collection of the 
 
 Duke of Devonshire ; mezzotinto by C. Phillips, 
 20 — 14. 
 
 14 The same subject ; mezzotinto by J. G. Haid. 
 
VII. HISTORICAL 
 
 AND 
 
 FANCY PIECES. 
 
 1 V ertumnus and Pomona ; engraved by Lepicie , 
 9 — 9tV 
 
 2 A man with a lantern leading a woman ; in the left 
 corner the moon appears ; etched 5-^ — 5^. 
 
 3 La Double Jouissance. A young man holding up a 
 drinking glass, with a young woman sitting on his 
 knee; etched by Anton. Riedel, 1764, 11 — 8^. 
 
 4 The same subject. George Leop. Her tel, ex cud. A. V. 
 
 10A — 8 t V. 
 
 5 Lc Negociant d’ Amsterdam. In the collection of M. 
 
 V under duren ; etched by Martinus Peirt, 14^ _ 17^. 
 
 6 The same subject, called, Les Ouvriers de la Vigne. In 
 
 the collection of AA. Crozai, Baron de Phierce ; etched 
 by St. Fessard, 1767, 14^ — 174^. 
 
PRINTS AFTER REMBRANDT. 285 
 
 7 Bauch and Philemon ; mezzotinto by P. Watson , 1772, 
 
 18 — 21. 
 
 8 The cradle. A woman reading by candle light, to 
 
 another sitting by a cradle with a child in it. In the 
 collection of the Duke of Orleans ; mezzotinto by 
 Me. Ardell , 1 3 f — i8 t ? q. 
 
 9 A family going to dine. In the Choiseul collection ; 
 
 etched by Binet, — 6. 
 
 10 The mathematician ; mezzotinto, by Me. Ardell , 
 
 20 — 14. 
 
 11 A Moris co woman with a vase, 5^3- — 3-^. 
 
 12 JA Avarice. In the cabinet of M. Pauwels ; engraved 
 
 by A. Car don, jun. Brussels, 1792, lo/ 0 — 7^. 
 
 13 A woman teaching a child to read. In the imperial 
 
 gallery, at St. Petersburg ; mezzotinto by fames 
 Walker, 1792, 20 — 14. 
 
 14 Anchises in a cave, with Proy seen at a distance in 
 
 flames. In the collection of M. Cesar ; etched by 
 Schmidt, 1768, 7 t V — 5 to- 
 
 15 Le Prince de Gueldre menacant son pere emprisonne. In 
 
 the collection of the King of Prussia ; etched by 
 G. F. Schmidt, 1756, 9/5 — 7r e>* 
 
 16 There is a mezzotinto after the last print, reversed by 
 
 W. Leader, 1765. It is the same size. The title is 
 Samson in the prison house at Gaza. 
 
 17 The same piece was engraved by Daniel Berger, jun. 
 
 1767, with the figures in the same direction as they 
 are in the original picture, which Schmidt has reversed ; 
 there are likewise two Negroes behind the prince, 
 which Schmidt has left out. 
 
PRINTS 
 
 IN 
 
 IMITATION 
 
 OF 
 
 REMBRANDT'S 
 
 DRAWINGS. 
 
SEVERAL SUBJECTS 
 
 ETCHED BY 
 
 M. LE COMTE DE CAYLUS. 
 
 A set. The History of Joseph. Each 8 T ^ — 6^. 
 
 1 Joseph telling his dream to his brethren. 
 
 2 Joseph let" down into the pit. 
 
 3 J ose ph s °ld to the Ishmaelitish merchants. 
 
 4 J ac °b afflicted at the sight of Joseph's garment. 
 
 5 The chastity of Joseph. 
 
 6 Potiphar s wife accusing Joseph to her husband. 
 
 7 Joseph in prison with the butler and baker. 
 
 8 Joseph interpreting Pharaoh’s dream. 
 
 9 Joseph made governor of Egypt. 
 
 10 Joseph making himself known to his brethren. 
 
 1 1 The angel delivering St. Peter out of prison, 8x^ — 9. 
 
 12 An old man sitting near a table with a dog by his chair, 
 
 and an old woman leading a goat into the room, 
 5 — 7 to. 
 
 13 An old man sitting and warming himself at a fire, be- 
 
 fore which stands a dog, with an old woman leading a 
 °oat and spinning, 7^ — 6^. 
 
IMITATIONS OF 
 
 290 
 
 pieces by B. Bicart , from his Impostures Innocentes. 
 
 1 An old woman asking alms at a door, 5 T 8 5 — 4^. 
 
 2 Boaz and Ruth, 4^ — . 
 
 3 The woman taken in adultery, 3^ — 4/^. 
 
 4 Our Lord with Martha and Mary , 4-^ — 5. 
 
 5 Our Lord with the disciples going to Emmaus, 4^ 
 
 — StV 
 
 6 Our Lord foretelling his death to his disciples, 4^ — 6. 
 
 7 A Roman charity, 5^ — 4 r V 
 S The same subject, 5 — 3 
 
 9 Marcus Curius Dentatus rejecting the presents of the 
 SamniteSy 5-^. — 7. 
 
 10 Judas receiving the price of his treachery ; arched, 
 StV— »iV 
 
 eighteen etchings of Lions ; by B. Picart , in his col- 
 lection of Lions, after several masters. 
 
 pieces by M. Poole , of Amsterdam. 
 
 1 A presentation in the temple, 4 T 5 0 — > 4^. 
 
 2 Our Lord healing a sick person who is kneeling before 
 
 him? 5 r^— 
 
 3 Our Lord mistaken for the gardener by Mary Magdalen , 
 
 4 to — 4 tV 
 
 4 Philip baptizing the eunuch, 6 ^ — 7. 
 
 5 The bust of an Oriental figure leaning against the 
 
 back of a great chair, i T - 5 — 2-ro* 
 
 6 Three heads sketched, 2^-— 2-A. 
 
REMBRANDT’S DRAWINGS. 
 
 291 
 
 7 An Oriental figure drinking, 4 — iAo- 
 
 8 An old man leaning on a stick, 4A0 — I T 8 ^. 
 
 9 A man sitting under an arch, 6/0 — 3 T V 
 
 10 A man in an Eastern dress sitting in a great chair, 
 
 with an old man standing by him, 4-^ — 3^. 
 
 1 1 An Eastern prince sitting in an elbow chair, 5 — 2 Ar* 
 
 1 2 Three men at dinner, with a woman attending, 4^ — 6. 
 
 A set; by Busch, inspector of the D. of Brunswick ' 1 s gallery. 
 
 1 Bust of a philosopher. Rembrandt f. 1640, 4 T \ — 2-^5. 
 
 2 Bust of an old man in spectacles, 3^ — 2-^-. 
 
 3 Bust of an old man in front, in the mezetin cap, 
 
 3 t %— 2 t V 
 
 4 Another old man in a high fur cap, 3^ — 2^. 
 
 5 A man’s head in a calotte, with a large beard, 3 — 
 
 2 6 
 
 Z T3’ 
 
 6 Bust of a warrior (not in Rembrandt's stile) 3 Ay — 2 Ay- 
 
 7 Bust of an officer, 2 A> — 2 Ay 
 
 8 The same subject, 2^ — 2A5. 
 
 9 Profile of a man, a line beneath forming the beginning 
 
 of an oval. 
 
 10 Bust of a man, ditto. 
 
 1 1 Bust of a man, ditto. 
 
 12 Bust of a man, ditto. 
 
 13 Head of a man, ditto. 
 
 14 Bust of an old man, ditto. 
 
 15 The head of a satyr. 
 
 16 Profile of a warrior, 2 Ay — i T | 
 J 7 Bust of a man, 2 Ay — i T V 
 
IMITATIONS OF 
 
 2,92 
 
 18 Head of a man nearly in profile. 
 
 19 Head of an old man. 
 
 20 Bust of a man, 2~ — JtV 
 
 21 Abraham and Isaac ; Rembrandt , 1640, 4A5 — 3^. 
 
 22 The angel and Tobias ; Rembrandt f 1635, ditto. 
 
 23 St. Jerome reading ; Rembrandt f. 1641, ditto. 
 
 24 A Magdalen-, Rembrandt f. 1635, ditto. 
 
 25 The angel delivering St. Peter out of prison ; Rem- 
 
 brandt f. 1635, ditto. 
 
 26 The flight into Egypt ; Rembrandt f. 1636, ditto. 
 
 27 Our Saviour as the gardener ; Rembrandt f. 1641, ditto. 
 
 28 The repose in Egypt 2 A0 — 2 T s g . 
 
 A set ; by Laurent z. 
 
 1 The portrait of Rembrandt , 3 ^ — 2-^5. 
 
 2 Rembrandt’s wife, 3^ — 2 -E. 
 
 3 Landscape with ruins of a church, 4^ — 7. 
 
 4 Landscape with cottages, 4A5 — 7. 
 
 5 Preparation for the Passover, 1759, 6 — 7 T 6 g . 
 
 6 Jesus Christ entombed, 1756, 6 — 7^0- 
 
 7 An old woman combing a girl’s hair, 1756, 4/^ — 6 1 s ^. 
 
 8 A man holding his right hand to his chin, 1756, 
 
 4/0 — 3tV 
 
 9 Head of a Polander, 3— — 2 r S o- 
 
 10 Head of a young woman with a feather in her hair, 
 
 3 To' 2 10 • 
 
 11 An old man, in a large hat, walking, 1756, 3/^ — 3. 
 
 12 An old man in a high cap, walking, 1756, 3/^ — 3. 
 
 13 A woman carrying a child, 1756, 5/5- — 3,V 
 
REMBRANDT’S DRAWINGS. 293 
 
 14 An old man drawing, 1756, 3^ — 4 tV 
 
 15 A child asleep, 1756, 3 t 5 o — 4 tV 
 
 16 Jesus Christ conversing with Martha, 1756, 67%— 4 rV 
 
 17 A Persian, 1759, 6 X ^ — ■ 5to« 
 
 18 An old man sitting in a chair, 1756, 6 — 4 t 3 o* 
 
 19 An old woman carrying a jug of water, 1756, 6—3-^. 
 
 A set ; by A. Bartsch. 
 
 1 An old woman reading by candle light, 1783, 9 — 7 -re- 
 
 2 Our Saviour with Nicodemus, 1782, io T ^— -13. 
 
 3 The death of Ananias and Sapphira, 1782, 9-rV 
 
 4 Haman and Mordecai, 1783* H-ro — i 5 to- 
 
 5 An old woman spinning, 1782, 1 i T S o — 9 ^* 
 
 6 to 11 An old man walking; a child asleep; an old 
 
 man walking ; a woman carrying a pitcher ; an old 
 man sitting in an elbow chair; an old man sitting 
 on a bank ; 1783, n x ^ — * I2 XX - 
 
 eight. In Rogers's imitations of drawings ; vol. ii. 
 
 1 Esau selling his birth-right to Jacob. In the collection 
 
 of T. Hudson , painter ; by Sim. Watts, 1765, 1 1— 9—* 
 
 2 Joseph interpreting Pharaoh's dream. In the same 
 
 collection; by the same, 1766, iijo — 14. 
 
 3 Jesus raising Jairus's daughter. In the same collection; 
 
 by the same, 1765, 11 — I2,V 
 
 4 A monk sitting in his cell, in devout meditation. 
 
 In the collection of Charles Rogers , Esq . ; by W. W. 
 Ryland, 1763, 16 — 1 i/q . 
 
.294 
 
 IMITATIONS OF 
 
 5 Turks drinking coffee. In the collection of Ralph 
 
 TVillet , Esq. ; by S. Watts, 1767, I i-.V ~ 
 
 6 An old man knocking at a door. In the collection of 
 
 Mr. Reynolds , 1763. 
 
 7 An old woman reflecting on what she has been reading. 
 
 In the same collection, and on the same plate ; by 
 TV. TV. Ryland, 1763, 13— — 6 
 
 8 A boy telling his story. In the same collection ; by 
 
 TV. Hebert, 1762, 12 -—- — II. 
 
 1 Profile of a man in a cap, his finger pointing to his 
 
 chin. Rembrandt del. and G. F. Schmidt, reversed, 
 1748, 3 A— 2 t V- 
 
 2 Profile of an old woman with her mouth open turned 
 
 to the left ; by the same, 3-A — 3. 
 
 3 A landscape ; evening, a canal with mills, &c. arched 
 
 at the corners ; etched by Capt. Baillie, 1765, 7 — 12. 
 
 4 A landscape ; an open country with the stump of a 
 
 tree in the middle of the fore-ground ; with the motto, 
 Tacet et loquitur. In the collection of Mr. Hone ; by 
 the same, 1760, 7 — 12. 
 
 5 The entombing the body. In the collection of Mr. 
 
 Hudson ; by the same, iOy-s- — 12 ,-77. 
 
 6 V Hntoire touchante. A man leading to another by 
 
 candlelight. In the collection of Mr. Dan. Neyman ; 
 by the same, 1767, 8^ 0 — io t 6 6 . 
 
 7 The prodigal son’s return ; by Dictricy , 2 To — 2 tV 
 
 8 A beggar in a large cap, walking to the left, with his 
 
 stick under his arm ; etched, and marked Rembrandt f. 
 1635, 6 r 8 o — 2. 
 
REMBRANDT’S DRAWINGS. 
 
 295 
 
 9 A man laughing, the same subject as N°. 294, marked 
 Rembrandt f. 4-A- — 3-^. 
 
 10 St. Jerome in his cave kneeling ; published by Vander- 
 
 gucht, 7 t S o — 9tV 
 
 1 1 The same subject nearly ; by M. Darley, 8/0 — 10. 
 
 12 A landscape, a cottage with a river in front ; by Giuo. 
 
 Zocchi. Size of the subject, 4A5. — 6 to-. 
 
 13 Cottages, its companion ; by the same, 4— — 6^%-. 
 
 14 A boy looking over a door-hatch in front, in colours ; 
 
 by Cornelius Ploos Van Amstel , g T ^ — 7-^. 
 
 15 A woman seen from behind leaning over a door-hatch ; 
 
 by the same, 6~ — 5 T %. 
 
 16 St. Peter ; by Captain Baillie , 8 T ~ — 
 
 17 An elephant; by the same. 
 
 18 Landscape in imitation of a drawing in Indian ink ; by 
 
 D. Chcdowiecki , 
 
 19 Landscape in imitation of a drawing in Bistre ; by 
 
 J. M. Falbe. 
 
 20 A woman on her death bed, with a lamp burning, and 
 
 an old man praying. In the collection of Mr. Jon. 
 Richardson ; by A. Pond, 1736, 8 — 8 T V 
 
 21 Landscape, with a cottage near a canal, within it are 
 
 a man and woman sitting by a fire ; a night piece ; 
 by Overlaet , sous la direction de Martenasie d' Anver s, 
 1761, 6^0 — 9to- 
 
 22 The angels departing from Abraham ; by M. de St. 
 
 Maurice. 
 
 23 A blind beggar supplicating alms from an old man ; by 
 
 the same. 
 
CATALOGUE 
 
 OF THE 
 
 WORKS 
 
 OF 
 
 REMBRANDT’S SCHOLARS, 
 
 BRAMER, BOL, LIVENS, 
 
 AND 
 
 VAN VLIET. 
 
 COMPILED FROM THEIR 
 
 ORIGINAL ETCHINGS. 
 
ETCHING 
 
 BY 
 
 LEONARD BRAMER. 
 
 lady at her toilet, with a gentleman playing on the lute, 
 and singing ; he is standing behind the toilet table, 
 on which lie several trinkets. To the left on another 
 table, is a lute with a German flute lying on some 
 music books, and on the ground are several musical 
 instruments reared up. This is the only etching by 
 Bramer, it is scarce , and all the impressions are faint. 
 Towards the bottom left corner is written, L. BRA - 
 MER, Invent. io T 3 ^ — 9-^. 
 
PRINTS 
 
 AFTER 
 
 LEONARD BRAMER. 
 
 1 Portrait of Leonard Bramer ; engraved by A . V. 
 
 D. Does. 
 
 2 Another ; by Houbracken. 
 
 3 Another ; by Weyerman. 
 
 4 Another ; a Vignette in Descamp's lives of the painters. 
 
 5 The dice-players. Chez Beauvarlet ; marked Bra- 
 
 hemer p. 
 
 6 The game of nine pins. The same. 
 
 7 A Bacchanalian piece ; by C. F. Boetius , Dresden. 
 
 8 Nymphs bathing ; by the same. 
 
 9 Py ramus and Thisbe. In the collection of the Earl of 
 
 Pembroke ; engraved by P. C. Canot , 17^ — 21 
 
ETCHINGS 
 
 BY 
 
 FERDINAND BOL. 
 
 1 A woman sitting in a room and suckling her child. 
 
 Behind her is a man leaning, and looking over her 
 shoulder ; near her foot sits a cat. In the middle of 
 the room is a cradle, and on the left side a bed. 
 This piece is executed somewhat in Rembrandt's 
 dark manner, and was for some time considered as 
 done by him ; till the name and date, F. Bol, 1649, 
 were discovered on a pane of a window, which is on 
 the right side of the print. Gersaint’s catalogue, 
 P a g e 3 1 1 > 7 to— 8 t V 
 
 2 Abraham offering up Isaac. This is a fine composition, 
 
 executed with great spirit. Isaac lies on the ground 
 with his hands tied together. Abraham is behind him 
 in a stooping attitude. : n the action of drawing his 
 
FERDINAND BOL. 
 
 30a 
 
 knife out of the case, but looking earnestly at an 
 angel who arrests his left arm. Behind him appears 
 the head of a ram entangled in a thicket. On the 
 left side, on the ground, is written F. Bol. f. 1 his 
 piece is arched. Cat. p. 315, 15A — 
 
 3 St. ^Jerome in a cavern. He is sitting towards the 
 
 right on a bank, almost naked ; he is turned to the 
 left, and is contemplating a crucifix which he holds 
 with both hands. Above his left shoulder hangs his 
 hat and a bottle. Before him is a lion lying on the 
 ground, with its head turned towards him. Behind the 
 lion is an arch in the rock. Above a book, which lies 
 open in the right corner, is written F. Bol, fe. 1644. 
 This piece is arched. Cat. p. 315, 1 1 7 \ — 9^. 
 
 4 Portrait of a young man in a high crowned hat. His 
 
 face is a three-quarters turned towards the left. He is 
 sitting behind a table, on which he leans his left arm. 
 On the left side is a pilaster from which springs an 
 arch. In the top right corner is written Bol, f. 
 Cat. p. 3^6, 6 — — 4 ts* 
 
 5 Portrait of a man in the mezetin cap with two feathers. 
 
 He is turned to the right and wrapped in a flowered 
 cloak. Towards the top right corner is written 
 F. Bol , /. 1642. Cat. p. 316, 3^5- — 3. 
 
 6 A young woman leaning upon some stone-work at a 
 
 window. She is seen in front, and in her right hand, 
 which is raised up, she holds a pear. Near the left 
 corner is written F. Bol. 1652. Cat. p. 316, 5 A* 
 — ■‘kro* 
 
FERDINAND BOL. 
 
 303 
 
 7 Portrait of a woman in an oval. She is nearly in pro- 
 
 file turned to the right, and wears a large hat with 
 two feathers in it. This is a very pleasing head well 
 executed, and the chiaro scuro produces a fine effect. 
 At the top is written F. Bol , f. 1624. Cat. p. 316, 
 4 — 3 - 
 
 8 A philosopher in meditation. He is sitting nearly in 
 
 front, and has a large beard. He holds his spectacles 
 in his right hand, which rests upon the elbow of his 
 chair. His left elbow Jeans on a table, on which are 
 some books with a globe. He wears a fur gown, and 
 a mezetin cap. In the back-ground is a pillar, and to 
 the right of it a book-case, with a curtain drawn a lit- 
 tle sideways. On a paper which lies on the table is 
 written Bol fecit , 1653. ^ arched. Sup. N°. 1, 
 
 9t'5' 7'f o'* 
 
 Of this piece there is a very scarce impression, which is less 
 worked upon in general. Sup. N°. 2. 
 
 9 An old philosopher sitting before a table in contem- 
 plation. He has a beard, and holds with both hands 
 a book which is open. To the left on the table are 
 two globes ; and in the back-ground behind him is a 
 pillar reaching to the top of the print. Sup. N°. 3, 
 87% -6 t V. 
 
 Of this there is an impression which is very scarce. The 
 pillar, is not seen, and the whole is less wrought upon. 
 The effect is not so good as in the finished print. Sup. 
 
 n°. 4 . 
 
 ro An old man in a mezetin cap, sitting. He rests his 
 left hand on the elbow of his chair, his right is under 
 
 u 
 
304 
 
 FERDINAND BOL. 
 
 his robe which is open before, bordered with fur, and 
 fastened with a buckle. To the right are some books 
 and a candle, not lighted. Towards the top on the 
 left is written Bol. Sup. N°. 5, 7 t 5 « — 5tV- 
 Of this there is a very scarce impression, which is in ge- 
 neral less finished. Sup. N°. 6. 
 
 1 1 The bust of an old man, a full face, in an oval, cut at 
 
 the top. He is in a robe, bordered with fur, and fas- 
 tened before with a diamond clasp. This piece is very 
 scarce. Sup. N °. 7. 
 
 12 Gideon's sacrifice. This piece, and the three following, 
 
 are erroneously attributed to Rembrandt , by M M. 
 He lie and Glomy. Rembrandt' s catalogue N°. 38. 
 
 13 An astrologer. Rembrandt’s catalogue N 0 . 147. Sup. 
 
 N 6 . 9. 
 
 14 Portrait of an officer. Rembrandt’ s catalogue N°. 309. 
 
 Sup. N°. 8. 
 
 13 Portrait of an old man. Rembrandt’ s catalogue, N°. 
 366. Sup. N°. 10. 
 
 16 Hagar with Ishmael in the desart. Hagar is in the 
 middle of the print with a veil on her head. In her 
 despair she has placed Ishmael under a bush ; she is 
 raising herself from the ground, and looking with 
 amazement on an angel who stands behind her, and 
 comforts her, by pointing with the right hand to a 
 well of water. This piece is very scarce , 4^ — 5 s . 
 
prints 
 
 AFTER 
 
 FERDINAND BOL. 
 
 * The portrait of Cornelius Fromp , Vice Admiral oJ~ 
 Holland ; engraved by Lambert Fischer . Sup. N°. ii t 
 22^— 17 - 
 
 2 The philosopher. In the cabinet of Count de Bruhl\ 
 
 engraved by L. Zucchi. Sup. N°. 12, 12-^ — 13^. 
 
 3 The portrait of Admiral Buy ter ; by H. Bary. 
 
 4 Afbilding der Regenten van dot Lepro%en huis, te Am- 
 
 sterdam, 1649; by Vinkeler. 
 
 5 Absalom asking pardon of his father King David ; 
 
 mezzotinto by J. G. Haid , 1766. 
 b David and Absalom j by J Spilsbury . 
 
 7 The history of King Belshazzar ; by A. L. Kruger. 
 
 8 St. Peter repenting ; by G. F. Schmidt , 1770, 7^—5^. 
 
3 o6 PRINTS after FERDINAND BOL. 
 
 9 Diana in a car drawn by dragons ; etched by E. Bon- 
 ne sone. 
 
 10 Vertumnus and Pomona ; by Guttenberg. 
 
 11 A Lady reading. In the Eloughton collection ; mez- 
 
 zotinto by R. Earlom ; arched, 18 — 12. 
 
 12 The Savoyard asleep ; by Godinet. 
 
 13 Bust of an old man. In the Dresden gallery; by 
 
 J. A. Riedel, 1755. 
 
 14 Head of a man ; by Laurent. 
 
 15 Joseph presenting his father to Pharaoh ; a large mezzo - 
 
 tinto ; by F. Gosse. 
 
ETCHINGS 
 
 BY 
 
 JOHN LIVENS. 
 
 The resurrection of Lazarus. This scene is the 
 inside of a cavern. Our Saviour stands a little on the 
 right, with his hands clasped before him ; his head 
 leans back, and his eyes are shut. He appears to be 
 addressing his omnipotent father in earnest prayer. 
 Below him is the tomb uncovered, with the hands of 
 Lazarus seen stretched out, above the side of it. 
 Most part of the back-ground consists of a glory. On 
 the left, a Morisco woman holds the linen cloth which 
 had covered Lazarus ; behind her is a sister of his, 
 with three men. A little below our Saviour’s feet is 
 written J. Livens fecit. Franc. Vander fVyngaerde cx. 
 Cat. p. 316, 14—12^. 
 
 There is an impression, which is very scarce , before the 
 name of Livens and Wyngaerde were inserted. 
 
3oS JOHN LIVENS. 
 
 2 St. Francis sitting in a grotto, meditating. Cat. p. 
 
 3 r 7> 9 A — 7* 
 
 3 Another £/. Francis , a whole length, sitting in a chair. 
 
 Cat. p.317, 1 o.j.'jy *— 8 . 
 
 4 5 /. Jerome. He is sitting with a cloth round his mid- 
 
 dle, in a grotto, turned to the right. His head is in- 
 clined, and he holds a crucifix with both hands ; on 
 the right side is a large book, and a bottle, with a 
 small tree ; on the left, near the top, hangs his hat, 
 with an hour-glass. He has a glory round his head. 
 Low down on the left is marked I. L. This piece is 
 strongly etched, and produces a good effect. Cat. 
 P* 3 1 7 » 9 To' 
 
 In the first impression, which is very scarce , several parts 
 are indetermined, particularly the book, and bottle ; 
 and it is larger, measuring 12-^ — >- io iV 
 3 Head of a Persian in a turban, marked on the left 
 side opposite to the head, I. L. Cat. p. 317, 3/5 
 3ttt 
 
 6 A head bald before, with a collar suspended from the 
 
 neck. Companion to N°. 5, and the same size. 
 They are both scarce. Cat, p. 317. 
 
 7 A noble Venetian sitting in an elbow chair, seen in 
 
 profile. A wood cut. It has a fine effect, and is ex- 
 tremely rare. It is marked on the right near the bot- 
 tom I. L. Cat. p. 318, 6 A- — 5 t V 
 
 8 A Persian head in a turban, a profile. Cat- p.318, 
 
 ^TTS 5tV 
 
 9 Bust of a man nearly in profile, in a rich fur robe with 
 
 clasps ; the hair is very short, and frizled. On the 
 
JOHN LIVENS. 
 
 309 
 
 left behind the neck, is marked I. L. fee. Cat. p. 
 3 j 8 , Sfs 5 tct- 
 
 10 Another, with a thin beard, it’s companion. Cat. p. 
 
 318, 6~ 5rar* 
 
 1 1 Portrait of a man seen in front, in a calotte, with a 
 
 collar. Cat. p. 318, 6 X 4 C — 5^. 
 
 12 The portrait of fames Gouterre an English musician, 
 
 holding his lute in his left hand. In the margin to 
 the right, under four Latin lines, is written Joannes 
 Livius fecit et excudit. Cat. p. 318, io X5 — 8. 
 
 13 A bust of a Capuchin , in profile, turned to the left. 
 
 Cat. p.318, wfs— 9to. 
 
 14 A fine bust in a Persian dress ; a profile, in a turban 
 
 with feathers, and a fur robe. Cat. p. 318, 10 
 
 -8A. 
 
 T 5 Ephraim Bonus, a Jewish physician. In the margin, 
 on the left is written Joannes Lyvyus fecit. Cat- p. 
 3 * 9 » i 3 t^ — io tV 
 
 16 Head of an old woman in profile, executed in a very 
 singular manner. Cat. p. 319, 5^ — 3r %. 
 
 J 7 The virgin sitting and presenting a pear to the infant 
 Jesus lying on her lap. In the middle of the margin 
 is written Jesus Afaria , and in the left corner Joannes 
 Livius fecit. Sup. N°. 1, n T ’_ — 6^. 
 
 18 St. Anthony sitting, and turned towards the left. In the 
 
 middle of the margin is written, S. Antomus , and in 
 the left corner Joannes Livius fecit, et excudit. Sup. 
 
 N°. 2, io t 7 5 — 8 f 3 o. 
 
 19 St. Francis sitting in a grotto, in meditation ; he is 
 
 on the left side of the print, and turned to the right. 
 Sup. N°. 8, 8^ — 5 A. 
 
3xo 
 
 JOHN LIVENS. 
 
 %o An upright landscape, a wood cut, consisting chiefly of 
 three trees. This is a beautiful piece and is very 
 scarce. Towards the middle, near the bottom, is 
 marked I. L. Sup. N°. 4, 8 T 7 S — 5-^. 
 
 <21 Two persons, having quarrelled at cards, are about to 
 fight. One of them is armed with a knife, the other 
 with a beer pot, On a table, between them, is a slate 
 with cards. Death, ornamented with vine leaves, ap- 
 pears as if coming to part them. In the margin are two 
 Latin versus ; on the left, Joannes Livius pinxit et 
 fecit, and on the right Franc, v. FVyngaerde exc. Sup. 
 
 N°. 5 » 7 t 8 ^ — io tV 
 
 2 % A man kneeling, looking up towards heaven, with his 
 right hand stretched out. To the right is the trunk 
 of a tree. Marked I. L .fecit, and in the top left cor- 
 ner, V. JVyngaerde ex. Sup. N 9 . 6, 8 — 6-^5. 
 
 23 St. Jerome . He is sitting on the right with his eyes 
 
 turned towards heaven ; he rests his right hand on his 
 knee with a book open, his left hangs by his side. 
 Behind him are some trees, and on the left is an eagle. 
 At the bottom is written Jean Livem fecit, and 
 J. P. Berendr. ex. Sup. N°. 7, 6 T \- — 
 
 24 A man in a cloak walking towards the left. On a 
 
 large stone lying on the ground, is marked I. L. 
 Sup. N°. 8, 4 to — 3 t V 
 
 25 The adoration of the shepherds. Near the middle of 
 
 the print, the virgin is sitting in profile, with the in- 
 fant Jesus on her lap. Joseph is standing behind her ; 
 above them is a hay rack. There are several persons 
 in attitudes of adoration. On the left side near the 
 
JOHN LIVENS. 
 
 311 
 
 manger is marked I. L. This piece is coarsely etched 
 and is scarce. Sup. N°. 9, 4^ 3^. 
 
 26 St. Jerome sitting on a bank, turned to the right, in con- 
 
 templation ; with a crucifix before him reared up to 
 a rock. Behind him is marked I. L. Sup. N°. 10, 
 A-P JL 
 
 1 1 Q O I O * 
 
 27 Portrait of an old man, his head nearly bald, with a 
 
 large round beard. In the top right corner is marked 
 I. L. and lower down S. Savery excut. Sup. N°. 11, 
 
 7 to- — 5 A- 
 
 28 Bust of an old man with a flowing beard, in profile, 
 
 turned to the left; his garment is fastened with a 
 large button. On the left, opposite his neck, is 
 marked I. L. Sup. N°. 12, 6 T V $ t %. 
 
 2 9 > 3 °’ 3 1 Three Oriental heads copied after Rembrandt^ 
 N°. 266, marked I. L. Sup. N°. 13, 6jV — 5—. 
 
 32 A young woman in profile, a half-length, with long 
 
 hair covering both her shoulders. She has a neck-lace 
 of pearls, and a girdle round her waist. In the right 
 corner, low down, is marked I. L. and at the top, 
 Franc, v. JVyngaerde excu. Sup. N°. 14, 6 V — • 3-V. 
 
 33 Bust of a young man, a profile, placed in the right 
 
 corner of the print, and directed towards the left. He 
 has a large cape, and short straight hair. Opposite his 
 forehead is marked I. L. Sup. N°. 15, 6 X ^ — $ T %. 
 
 34 Bust of a young man in profile, turned towards the 
 
 right ; his hair is thick, and waved ; his head unco- 
 vered, and he wears a fringed neck-cloth. In the right 
 corner at the bottom is marked I. L. Sup. N°. 16, 
 6 J C JL 
 
3 is JOHN LIVENS. 
 
 35 Portrait of a man with moustaches, marked I. L. Sup. 
 
 N°. 17, 6 t l — 5 t 6 _. 
 
 36 Bust of an old man, nearly in profile, in a fur cap ; he 
 
 is turned to the right, and his beard is jaggy. Behind 
 his neck is marked I. L .fee. On the right near the 
 top, F. v. FFyn. cxc. Sup. N°. 18, 5 T 8 & — 4 t 9 o- 
 
 37 Bust of a young man in the stile of that by Rembrandt, 
 
 N°. 267. He is a profile, in a mezetin cap, turned 
 to the right. Behind his shoulder is written J. Livens, 
 and near the top, Franciscus Vandcn fVyngaerde exc. 
 Sup. N°. 19, 5^ — 4-^-. 
 
 38 Bust of an old woman in profile, with a veil on her 
 
 head. She is on the right side, and turned to the left. 
 In the left corner near the bottom is written f. Livens , 
 fee. and below it F. V. hVyn. ex. Sup. N°. 20, 
 5 * $ 4to* 
 
 39 Bust of a woman in the same stile. Sup. N°. 21, 
 
 nearly 3 — 2 r %. 
 
 40 Bust of a woman in profile. She is on the left side, 
 
 and turned to the right, in a little cap ornamented 
 with pearls. Sup. N°. 22, 5— — 5. 
 
 41 Bust of an old man, a profile turned to the right ; his 
 
 hair is very short, and his beard and moustaches thin. 
 In the middle of the left side is marked I. L. Sup. 
 N°. 23, 5A — 4 tV 
 
 42 Bust of an old man, his head partly bald, his beard 
 
 long, his cloak open, and his habit buttoned. In the 
 bottom, on the right, is marked I. L. Sup. N°. 24, 
 4-nr — 4- 
 
 43 Bust of ail old man ; his head is inclined, and turned 
 
JOHN LIVENS. 315 
 
 a little towards the right ; he has moustaches. In the 
 middle on the right is marked I. L. Sup. N°. 25, 
 5 — 3 tV 
 
 44 Bust of an old man, much the same character as the 
 
 last. Above the middle, on the left is marked I. L. 
 Sup. N°. 26, 3 to — 3-rV 
 
 45 Bust of a man seen nearly in front. The head is un- 
 
 covered and leans backward ; thehairisfrizled, and the 
 beard and moustaches are jaggy. In the middle on the 
 left is marked I. L. and at the top, Franc. Vanden 
 Wyngaerde. Sup. N°. 27, 3V0 — 2 T V 
 
 46 Head of "Jesus Christ in profile, inclining to the right 
 
 On the left towards the top is marked I. L. Sup. N °. 
 28, 3 2 tV 
 
 47 Bust of an old man, a profile lightly etched, in a 
 
 high round cap ; his beard thick and straight. Sup. 
 ^ • 2 9> 3ro 
 
 48 Bust of a man, a profile, in a cap which reaches to the 
 
 top of the plate. Sup. N°. 30, 3^ — 2 r %. 
 
 49 An old man sitting, in a calotte. His face is nearly seen 
 
 in front, and his garment is open, and both hands are 
 seen. On the left is marked I. L. Sup. N°. 31, 
 
 2 r 5* 2 to* 
 
 50 Head of a woman, in a large hat, with a cornet cap. 
 
 Sup. N°. 32, 3^ — 3t |* 
 
 51 Bust of a man laughing, with his teeth seen- Sup. N°. 
 
 33’ 3r^ — 3»V- 
 
 5 2 Bust of a man, a little turned to the left. He wears a 
 
 cap, his habit has buttons, and he has a cravat round 
 his neck. On the left, towards the head, is marked 
 I- L. Sup N°. 34, 2 T V-2,V 
 
JOHN LIVENS. 
 
 3H 
 
 53 Bust of an old man, nearly in front (feebly etched) in a 
 
 calotte, his beard thick and frizled, and his robe bor- 
 dered with fur. In the middle, on the left, is marked 
 I. L. Sup. N°. 35, 3 — 2 T V 
 
 54 Bust of a woman, a profile, her hair, which hangs on 
 
 her left shoulder, is tied near the bottom. She is 
 turned to the left. Sup. N°. 36, 3 — 2 r %. 
 
 55 Bust of an old man, in profile ; he has a long beard, and 
 
 his hair is curled on the crown ; he is on the left side 
 of the print and turned to the right. Near the bottom, 
 at the right corner is marked I. L. The best impres- 
 sions are before the address of P.de Balliu , 6~o — 5ro-» 
 
 56 to 59 The four Evangelists. They are marked I. L. 
 
 and measure each, 5— — 3-^. 
 
 60 V ertumnus and Pomona. Vertvmnus is sitting on the 
 
 ground in the left corner, and Pomona on a bank op- 
 posite, beneath some trees. She wears a hat with a 
 large feather in it, 6 T L — 5 T L.. 
 
 61 The two Maries going to the sepulchre. They are 
 
 walking towards the right, holding a book which is 
 open, in which they appear to be reading attentively, 
 
 0 — 4 l _ 1. 0 2 
 
 jio ^ I "o > 
 
 62 Jesus and the Samaritan woman at the well ; after 
 
 Rembrandt, 2 T L — 3-^. 
 
 63 The head of Joseph of Arimathea, a profile turned to 
 
 the left ; after the same, 3 T L — gJL. 
 
 64 Mercury and Argus. Mercury is sitting on a bank 
 
 playing upon his pipe. On another bank opposite to 
 him, sits Argus , leaning upon a staff as if going to 
 
JOHN LIVENS. 
 
 3i5 
 
 sleep. Under the trunk of a large tree, behind 
 Mercury , is Io turned into a heifer, with several 
 sheep. Low down on the right, is marked, I. L. 
 fee. and near the bottom towards the middle, Franc. 
 V. Wyngaerde , ex. jfL — 6 T L. 
 
 65 The Portrait of Daniel Heinsius , secretary to the King 
 
 of Sweden. In the margin under four Latin verses, is 
 written on the left, Joannes Lyvyus pinxit et fecit , and 
 in the middle Marlinus vanden Enden excudit , io T ~ — 8. 
 
 66 Eight , a set of little pieces, consisting of seven busts of 
 
 men and women, and the title, Varioe Effigies a 
 Joanne Livio. Lugd. Bat. Two of them are de- 
 scribed in the Sup. N°. 28, 29. 
 
 67 Bust of a man ; the head is a three-quarters, the hair 
 
 is long, and naturally frizled, falling on the shoulders. 
 He has a plaited neck-band. Above the shoulder on 
 the left, is marked I. L. This is a beautiful wood 
 print, 6 t V— 
 
 68 Bust of an old man, turned towards the right, the 
 
 hair is short, and the beard frizled, with moustaches 
 on the upper lip ; his robe is bordered with fur, and 
 fastened with a clasp. Towards the left is marked 
 I. L .fee. 6 -fs — 5^. 
 
 69 Bust of an old man. The head is a little turned to- 
 
 wards the left, the beard and hair frizled. The body 
 is covered with a cloak which is unfinished, 5 — ^. T %, 
 
 70 An Oriental head. It is turned to the left, covered with 
 
 a large turban with a tuft of feathers in it, above the 
 left ear. The mouth is a little open, and smiling. 
 
3 16 
 
 JOHN LIVENS. 
 
 He has a cloak bordered with fur. This piece is ex* 
 iremely rare, and appears to be unfinished, 4-,^ — 3 T V» 
 
 71 Bust of a man. The head is a three-quarters turned 
 
 to the right, and covered with a fur cap. His cloak 
 is fastened with a clasp at the top, 3 — 2 r ~. 
 
 72 Another bust of a man, of which the head is a three- 
 
 quarters turned to the right, and covered with a fur 
 cap rather flat at the top. The countenance is grace- 
 ful with a pensive air, 2 T % — 2-/0. 
 
 73 Bust of an officer with a helmet and gorget. The head 
 
 is a three-quarters, turned towards the left ; the hair 
 is long, frizled, and flowing, 3 — 3-^-. 
 
 74 An old man sleeping. The head is a three-quarters 
 
 turned towards the left, his beard is large and a little 
 frizled, as is the hair, 6 T L — 5_? s . 
 
 75 Bust of an old man turned towards the right. The 
 
 head is covered with a flat cap, the nose is large, the 
 mouth is likewise large and drawn up, and the chin 
 broad, 4vo ~ 3^V 
 
 76 An old man sleeping. He is sitting turned to the 
 
 right, with the head inclined ; the hands are clasped 
 together, and rest on his knees. The back-ground, 
 on the right, is in part wrought upon, but appears 
 indetermined, 4 — 2 T L. 
 
 77 A dead Christ. The subject is in a grotto, where the 
 
 virgin and the holy women, with some angels, all 
 appear to he deeply penetrated with sorrow. On the 
 right, at the entrance, is Joseph of Arimatheci , car- 
 rying a bason of perfumery to embalm the body of our 
 
JOHN LIVENS. 
 
 3i7 
 
 Saviour. Near the bottom, a little angel sits on the 
 ground, holding the winding sheet. On the left, at 
 a distance, is seen the cross, whereon our Saviour had 
 been crucified ; and another cross on which is one 
 of the thieves may just be discerned, 9^ — 13-^. 
 
 78 Head of a man, with short hair and beard ; at the left 
 
 ear hangs a ring; the body is turned to the left and 
 covered with a robe, ornamented with jewels on the 
 shoulder, 6 — 5-^. 
 
 79 Eighty a set of seven heads, and the title, Diverse 
 
 tronikens geetst van J. L. — 2—. 
 
 2 A white Aforisco woman, in profile, turned to the 
 
 left. 
 
 3 Head of a man with a short beard, in a calotte, turned 
 
 to the left. 
 
 4 Head of a man in a high cap, fastened round the head 
 
 with a double cord, turned to the right. 
 
 5 Head of a young man with frizled hair, turned to the 
 
 right. 
 
 6 Another head of a young man with frizled hair, and 
 
 turned to the right. 
 
 7 Head of a young man with long hair, in profile turned 
 
 to the right. 
 
 8 Head of a man turned to the right, in a square hairy 
 
 cap, very high and pointed, tied round with a band, 
 the ends of which fall upon the left shoulder. 
 
 80 The head of a woman in profile, turned to the left ; 
 
 her hair is covered with a bonnet tied round her head, 
 the end of the band covering her ear. 
 
318 JOHN LIVENS. 
 
 8 1 The holy family. The virgin is sitting on the right, 
 holding the infant Jesus in her arms ; she is turned 
 towards Joseph and St. John, who are on the left side. 
 Near the head of the virgin is written Joannes Liven 
 fecit. The height of this print could not be ascertained, 
 it having been cut at the bottom, but the width is 
 3tV 
 
PRINTS 
 
 AFTER 
 
 JOHN LIVENS. 
 
 1 JL he resurrection of Lazarus ; engraved by J. Louys . 
 
 Cat. p. 316, 16-^ — I2 to- 
 
 2 Father Paul in a cavern. FV. P. L. fecit . 11^ — 8, 
 
 3 Head of an old man seen nearly in front, with a short 
 
 jaggy beard ; a wood cut ; by F. du Sort, 6 T y — 5^. 
 
 4 Isaac blessing Jacob ; etched by J. G. V. Vliet , 18— 
 
 5 Susannah and the Elders ; etched by J. G. V. Vliet. 
 
 Sup. N°. 1, 21^—17^. 
 
 6 Admiral Van Tromp ; by J. Francois , 17^, — 13^. 
 
 7 The same person ; by C. Van Dalen. Sup. N°. 2, 
 
 i6 t 5 6 7 8 o — I2 t V 
 
 8 Admiral Van Galen \ by M. Mozyn, iy T 3 v — • 1$**. 
 
 x 
 
320 
 
 PRINTS after LIVENS. 
 
 9 Anna Maria A Schurman ; by Jonas Suyderhoef. Sup. 
 • 3’ i 3to io tV 
 
 10 Cornelius Haesdonck ; by S. Savry. Sup. N • 4 > 1 3 xo 
 
 — 9xo- 
 
 1 1 John David de Heem of Utrecht , painter ; by P. Pontius. 
 
 Sup. N°. 5, n — 8 XX . 
 
 12 John de Heem ; by Pontius , ioL — 7 A- 
 
 13 Daniel Segers ; by P. Pontius. Sup. N°. 6, io xx - — 8. 
 
 14 Joost Vondel , a Dutch poet ; T. E. Matham excudit. 
 
 Sup. N°. 7, I2 x 7 5 — 9 t L. 
 
 15 Luke Vosterman engraver ; by F. Vanden TVyngaerde , 
 
 very scarce. Sup. N°. 8, lo-f — 8. 
 
 16 Const. Huggens, secretary to the Prince of Orange ; by 
 
 L. Vorsterman. Sup. N°. 9, io-^ — 8. 
 
 17 Nicolas L' Anier ; by L. Vosterman. Sup. N°. 11, 
 
 IOro “ 8 t V 
 
 18 Admiral Van Galen ; by M. Mozyn. Sup. N°. 12, 
 
 l6i 5 e — I2 t V 
 
 19 Francis vanden Wyngaerde \ F. v. TV. eetatis suoe 23, 
 
 A° . 1637 ; by Con. Maithus. Sup. N°. 13, ^Aq 
 _ 2 —~ 
 
 20 Captain Jeron. de Bran ; by L. Vosterman , 12— — 8 XX . 
 
 21 Bust of an old man, a full face ; by P. Angel , 1637. 
 
 Sup. N°. 14, 2 x L — 2. 
 
 22 Abraham Heydanus. Sup. p. 173. 
 
 23 Paulus duPont , engraver ; by P. de Jode, 6 X V — 4^. 
 
 24 A warrior resting his right arm upon his sword, 
 
 4 xtf- 
 
 25 Landscape with ruins, in imitation of a drawing ; by 
 
 Kotwick , 7^0- — io T V 
 
PRINTS after LIVENS. J2 i 
 
 26 A woman half-length, with her right elbow leaning 
 
 upon a book, her head resting upon her hand ; etched 
 by Afatt. O ester retch , 7 — 
 
 27 The head of a Polander , a full face ; the body turned to 
 
 the left. In the back-ground is marked I. L. 4-^. 
 — 3t 7 o- 
 
 28 Bust of an old man, a full face ; the hair and beard are 
 
 very short and frizled. This is a wood print; by 
 F.duSart , 6y^ — 5^. 
 
ETCHINGS 
 
 BY 
 
 JOHN GEORGE VAN VLIET. 
 
 1 Ten, a set of beggars, with a title, on which are two 
 
 beggars receiving alms from a man who leans over the 
 cartridge, on which is written, By t , geeve Bestaet 
 ons leeve. J. G. Van Vliet fecit 1632. They are 
 marked J. G. Van Vliet inv. — 2—. 
 
 2 ten, a set of figures, with a title, on which are two 
 
 figures, a man and woman, holding a cartridge on 
 which is written J. G. Van Vliet fecit 1632, if 
 
 3 fourteen, a set of single figures, with a title, on 
 
 which are two figures holding a cartridge, on which is 
 written J. G. Van Vliet fecit 1635, 3-^ — 2 T 8 ^. 
 
 4 six, a set of small figures with landscapes in the back- 
 
 grounds, 2— i T V 
 
VAN VLIET. 
 
 324 
 
 5 
 
 6 
 
 twenty two, a set of the Arts and Trades, 4^ — 3 T * 6 . 
 
 eighteen, a set of the Manual Trades. They are 
 in general marked J. G. V- Vl'iet , and measure about 
 
 8 3 a 4 
 
 u To- 
 
 1 The Taylor, 
 
 2 The Carpenter, 
 
 3 The Basketmaker, 
 
 4 The Cooper, 
 
 5 The Baker, 
 
 6 The Bricklayer, 
 
 7 The Blacksmith, 
 
 8 The Whitesmith, 
 
 9 The Shoemaker, 
 
 10 The Besommaker, 
 
 11 The Turner, 
 
 12 The Statuary, 
 
 13 The Glazier, 
 
 14 The Hatter, 
 
 15 The Weaver, 
 
 16 The Currier, 
 
 17 The Brazier, 
 
 18 The Sailmaker. 
 
 7 five, a set. The five senses. Sup. N°. 3, each 
 9-n? 7 t3* 
 
 1 seeing. A philosopher in his study, reading by can- 
 
 dle light, in a large book which he rests on a table, on 
 which is a globe, and behind it a candle, concealed 
 by the globe from view. The light has a fine effect 
 on the front of the philosopher, as likewise on a book- 
 case which, is on the right side of the print. In the 
 book is written J. G. Van Vl'iet fecit 1634. 
 
 2 feeling. The barber-surgeon. He is probing the 
 
 leg of a man who appears to be in great pain. A wo- 
 man is looking at the operation with strong expression 
 of pity in her face. Near a tortoise, which is crawl- 
 ing on the ground, on the left, is written J. G. 
 V. Vl'iet fee. 
 
 3 hearing. A concert. A man sitting and playing on 
 
VAN VLIET. 
 
 325 
 
 the lute ; another on the German flute, with a third 
 singing and beating time ; on the right is another 
 man standing. 
 
 4 tasting. An old woman baking cakes on a stove in 
 
 the right corner. One man is greedily feeding on a 
 cake, while another is drinking the remains of a large 
 jug of liquor. 
 
 5 smelling. Two men and a woman sitting at table. 
 
 One of the men holds a pipe, and puffs the smoak in 
 the face of the woman, who appears to be disgusted 
 with the smell of it. At the bottom towards the right 
 is written J. G. V. Vlict fe. 
 
 8 The same subjects, of a smaller size. Sup. N°. 4. 
 
 9 six, a set. The history of the passion of our Saviour, 
 
 viz 1 st, the last supper ; 2d, Christ betrayed ; 3d, the 
 Jlccc Homo ; 4th, the crucifixion ; 3th, the descent 
 from the cross ; 6th, the resurrection. 
 
 10 The resurrection of Lazarus. Our Saviour is standing 
 
 near the middle of the print, with his right arm ex- 
 tended upwards, and his left hand is gently raised; he 
 is addressing Lazarus , who is rising from the tomb, 
 and supports himself on the sides of it with his elbows. 
 There are several spectators in attitudes of astonish- 
 ment ; one of them, behind the rest on the right side, 
 holds a bow in his left hand, and has a quiver of ar- 
 rows at his back. In a margin is written J. G. Van 
 Vlict fecit. Sup. N°. I, 14^ — 11^. 
 
 11 Jesus Christ with Nicodemus. Our Saviour is sitting 
 
 on the left, and leaning on a table, on which is a 
 
VAN VLIET. 
 
 326 
 
 candle burning ; he is addressing Nicodemus with great 
 earnestness ; the latter sits opposite to him, holding a 
 book which is shut, with both hands, 12^— 9-rV 
 
 12 A family. A man is sitting in the middle of the print 
 
 on a hamper, in profile, turned to the left. On the 
 left side is a woman with a child on her lap. On the 
 right side, part of a winding staircase is seen ; on one 
 of the steps is written J. G.fe. — 5-^* 
 
 13 A philosopher in profile, writing. He is turned to the 
 
 left. On the right side is a bed. On the left, in a 
 a large book which is open, is written J. G. fe. 
 Above the book, part of a globe is discovered. The 
 lamp, or candle, which illuminates part of the sub- 
 ject, is concealed from view, 7 T -o — 5rV 
 
 14 The ballad singers. A man and woman are standing 
 
 elevated above the spectators ; they are singing, and 
 selling their ballads. There are several figures in the 
 fore-ground, and two houses with a church steeple in 
 the distance. On the ground, near the left corner, is 
 written, J. G. Van Vliet. fecit , 13 — 8 T 6 3 . 
 
 15 The rat-killer. He is standing on the left, holding a 
 
 pole, on the end of which is a cage with rats in it, and 
 some rats suspended from it. He holds a packet in his 
 left hand. Three men are standing, and one sitting 
 at a table, on which lie his packets. Near the top is 
 written J. G. V an Vliet fee. 6 — 5-—-. 
 
 16 The barber-surgeon. He is operating in the mouth of 
 
 a poor man, while a boy opens a pouch, which hangs 
 at his side, to rob it. Near the bottom is written 
 y. G. Van Vliet, fecit , 6 — 5 T V 
 
 17 The card-players Two persons are playing at cards, 
 
VAN VLIET. 
 
 327 
 
 while two others are looking on, one of whom holds 
 a glass in his left hand. Towards the bottom, on the 
 right, is written J. G. Fan Vliet , 7^ — 
 
 1 8 The backgammon-players. This piece consists of four 
 
 figures ; two of whom are playing at backgammon. 
 In the back-ground on the left is a bed. 
 
 19 A conversation. Ten persons are seated round a table, 
 
 one of them is carving a ham, and another playing the 
 cymbal, 8 T 3 * — n T V 
 
 20 An officer with a girl on his knee. On the left, sits 
 
 an officer, habited like a Spaniard, with a girl on his 
 knee ; he supports her with his right arm, and holds a 
 jug in his left hand. Before him is a covered table, 
 with a bowl, a lemon on a plate, a pot of. beer, a 
 pipe, &c. upon it. Behind the officer is a bed, before 
 which stands a woman holding a jug and glass, looking 
 at the officer and the girl with complaisance. On the 
 right, before the chimney, the officer’s servant is toy- 
 ing with the servant-maid. Towards the left, at the 
 bottom, is written, J. G. Van Vliet fecit. Peyenaar 
 excu. 7 t 5 o — 1 i t 5 o- 
 
 2 1 A gentleman sitting with a lady on his knee, in an at- 
 
 titude of gallantry. On the left is a covered table, on 
 which is a plate and glass. On the same side is a door 
 shut. Towards the right is a chimney and a chair, 
 
 6J5 rj_. 
 
 U IO J I o' 
 
 22 The portrait of Frederick Henry , Prince of Orange. 
 
 He is seen to the knees, and holds a truncheon in his 
 right hand, his left is hid under a short cloak. His 
 . head is a three-quarters turned towards the left. In 
 the margin is written his title, 7^ — 6 T V. 
 
328 
 
 VAN VLIET. 
 
 23 The portrait of the Princess of Orange. 
 
 24 A large allegorical print of Maurice Prince of Orange y 
 
 in his chariot drawn by six horses, attended by the 
 virtues overthrowing the vices. 
 
 25 Bust of an old man ; his head, which is bald, is a little 
 
 inclined towards the left. His mouth is open as if he 
 was in great pain. Sup. N°. 6, 2 T 7 ^ — i T V 
 
 26 Portrait of Rembrandt’ s mother reading. She is sitting 
 
 on a carved seat with her right foot on a Dutch stove. 
 This piece is after Rembrandt. In the top right cor- 
 ner is written Rt. V on Ryn inventor ; J. G- V cm 
 Vliet fecit , II — 8 to* 
 
 27 Six portraits of men, after the same. 
 
 1 A three-quarters with the hair frizled. In the top left 
 
 corner is written, Rt. inventor , and in the right, 
 J. G. V- Vliet , fee- 1634, 9 — 7tV- 
 
 2 Philon the Jew , in a fur cap, with a scarf round the 
 
 bottom of it. In the top left corner is written, Rt. 
 van Ryn in. J. G. van Vliet fecit , 1633, 8 T ty — 7 ~rV 
 
 3 A Polander, in a turban, with a plume of feathers and 
 
 jewels. In the top right corner is written, Rt. inventor , 
 and m the left, J. G. V. Vliet fee. 9 — 7 T L. 
 
 4 A philosopher, or minister, in a calotte. In the top 
 
 left corner is written Rt. inventor , and in the right, 
 J. G. V. Vliet fee. 1634, 8 to — 7 to. 
 
 5 Judas Iscariot, from a capital picture of Judas returning 
 
 the thirty pieces of silver. In the top left corner, is 
 written, Rt. inventor, and in the right, J. G. V. Vliet y 
 fee. 1634, 9 — 7tV 
 
VAN VLIET. 
 
 329 
 
 6 An officer with a gorget, laughing. In the top right 
 corner, is written Rt. inventory and in the left, J. G. 
 V . Vliet fee. 9 — 
 
 28 An officer in profile, with a gorget and chain, and a 
 
 fur cap with feathers in it ; after the same. In the 
 top left corner, is written Rt. V. Ryn in. in the middle 
 1631, and in the top right corner J. G. V. Vliet 
 
 fecit, 5 t -c 
 
 29 The daughters of Lot making their father drunk. 
 
 They are sitting in the mouth of a cavern. At a dis- 
 tance Lot's wife is discovered, and farther off, on the 
 left, Sodom in flames. In this piece the chiaro-scuro 
 has a fine effect. In the margin is written Rt. van 
 Ryn inventor , 1631, f. G. Van Vliet fecit, 1 1 — 8 t 8 q. 
 
 30 The baptism of the Eunuch. The Eunuch is kneeling 
 
 on the ground, near the middle of the print, and 
 turned to the right. Behind him stands St. Philip, 
 with his right hand held over the Eunuch's head. On 
 an eminence above them is a chariot, with horses and 
 attendants. On the ground, in the middle, is written 
 Rt. V. Ryn inv. J. G. V. Vliet. fee. 1631, 23^ 
 — 1 9t 3 o • 
 
 31 St. Jerome sitting at the foot of a tree. St. Jerome is 
 
 on the left, sitting at the foot of a stump of an old 
 tree, behind which is a thatched hovel. He is reading 
 in a large book, which he rests on a covered table. 
 This piece is likewise after Rembrandt. In the bot- 
 tom left corner, is written J. G. Van Vliet fecit. 
 1 3 t ° 8 x 6 o* 
 
 32 St. Jerome in the cave. This piece is esteemed the' 
 
33 ° 
 
 VAN VLIET. 
 
 chef cCoeievre of Van Vliet ; it is extremely well ex- 
 ecuted, and produces a fine effect. Near the middle, 
 St. Jerome is kneeling with a crucifix in his hands, 
 with a large book open before him.-* To the left, on a 
 bank, lie his hat, an hour glass, and several othpr 
 things ; below them is a mattress on some straw. 
 On the right side, behind him, is seen the fore -part of 
 a lion, lying on the ground. In the right corner, 
 near the bottom, is written Rt. V. Ryn in. J. G. V, 
 Vliet, fee. 1631, 14^ — 1 1 rl • 
 
 33 Isaac blessing Jacob. Isaac is lying in bed with his 
 
 arms crossed upon his breast. Rebeccah stands at the 
 foot of the bed, and is drawing the curtain aside with 
 her left hand. Jacob kneels down by the bed side, 
 resting his left hand, in which is a bow, on a step. 
 On the right side is a covered table with a dish of ve- 
 nison upon it, and on the floor stands a large jug. 
 This piece is after Livens ; near the bottom is written, 
 J. Lievtus inv. J. G. V. Vliet fecit. J. Vangcna 
 excudit. l8 T *5 — I5 ts‘ 
 
 34 Susannah and the elders, after the same. Susannah is 
 
 sitting upon her clothes naked, before a fountain, which 
 is on the right side of the print. One of the elders, 
 who is behind her, pulls her backward by her right 
 arm, which is extended above her head. The other 
 has his left hand upon her breast, and turns his head, 
 as if apprehensive of being discovered. She appears to 
 be crying out in great anguish of mind. The trans- 
 action is in a garden ; behind them is the trunk of a 
 very large tree. The chiaro-scuro in this piece, pro- 
 
VAN VL1ET. 
 
 331 
 
 duces a strong effect. On the right, near a balustrade, 
 is written J. Lievense inv. J. G. F. Fliet fee . 
 
 21^—17^. 
 
 Jesus and the Samaritan woman. Our Saviour is sit- 
 ting by a well, leaning his left arm on the side of it. 
 He is discoursing with the woman, who stands before 
 the well. She rests her right hand upon the bucket, 
 and holds a pitcher in her left. In the bottom left 
 corner is written J. P. Scooten pin. J. G. F. Fliet, 
 i6 55» I°to — S^. 
 
APPENDIX. 
 
 PRINTS by REMBRANDT. 
 
 i The portrait of Rembrandt etching. 
 
 This piece may be regarded as presque -unique ; it 
 was in the collections of M. Mariette , and of Mr. 
 Hazard. At the bottom, towards the left, is writ- 
 ten Rembran f. 1638, the dt being omitted. 
 
 A 6 rt 6 - 
 
 4l O 2 , Q . 
 
 2 A LANDSCAPE OF AN IRREGULAR FORM. 
 
 This piece is described by M. M. Helle and Glomy , 
 the editors of Ger saint's catalogue, as an addition , p. 
 320; and is introduced as N°. 237, by the editors of 
 the English edition. 
 
 Towards the middle of the print is a low built 
 house on the side of a canal. Above 'the roof appears 
 the gable end of ahother house, which terminates in a 
 a point. By the side of these houses, on the right, 
 are several trees, and a paling of wood. A road that 
 
 Y 
 
33 & 
 
 APPENDIX. 
 
 commences near the middle of the print is carried 
 back towards the right before the trees. On the left, 
 in the distance, are two windmills and a steeple. This 
 piece is extremely rare ; it is very lightly etched, and 
 the impression from which the description is taken, 
 was washed with Indian ink, in so masterly a manner, 
 that it was probably done by Rembrandt himself. It 
 measures on the right side 3 to> an ^ on 
 by 8 rV wide. 
 
 3 A LANDSCAPE WITH A VIEW OF AMSTERDAM. 
 
 On the right are some houses, surrounded by trees, 
 particularly a large one with a turret. A river runs 
 through the fore-ground ; on the left is a boat, wherein 
 are three men, one towards the stern, and two forward. 
 In the back-ground is a view of Amsterdam , with wind- 
 mills, &c. and the sea on the right. In the middle 
 are two small figures on horseback, one of which 
 seems to be pointing out the prospect. This piece is 
 one of those which Rembrandt washed with Indian 
 
 ink. It is presque-unlquc. 
 
 o_ 3 6 - 9 - 
 
 *To '-’i y 
 
 4 COTTAGES. 
 
 Two thatched cottages are seen in perspective. 
 That on the right is the largest ; near the door is a 
 window open, with two children standing before it ; 
 the chimney projects on the outside. The cottages 
 take up nearly the whole of the print ; on the left 
 side, in the distance, a village is seen, with a church 
 steeple. Near the middle of the fore-ground, a road 
 commences, which is carried back before the cottages. 
 
APPENDIX. 
 
 337 
 
 Their appearance is very picturesque, being decayed 
 by time, and the thatch interspersed with moss and 
 weeds. Between them are some low trees or shrubs. 
 This, and the following piece, were in the collection 
 of the late Earl of Bute, and regarded as uniques. 
 
 4-rb' — Tt'o- 
 
 5 A BARN. 
 
 In the middle of the print is an old barn covered with 
 thatch, which, like that in the last piece, is interspersed 
 with moss and weeds. On the right side some bushy 
 trees grow up to it. A cart wheel is reared against the 
 back of the barn, and a piece of wood lies on the 
 ground near it. On the left side is a man carrrying 
 two milk pails with a yoke. This piece was likewise 
 in the collection of the late Earl of Bute, and is 
 supposed to be unique. It is one of those pieces 
 which Rembrandt washed with Indian ink. 
 
 2— 9 A--.- 
 
 ** I O T-l O* 
 
 6 A COTTAGE WITH A LARGE TREE. 
 
 On a rising bank, towards the right of this landscape, 
 is a low thatched cottage, with a man sitting near the 
 door-hatch. On the left side is the lower part of a 
 large tree, the boundary of the print cutting off the 
 top of it. To the right of the trunk, in the distance, 
 is seen a castle on the sea coast. This print is faintly 
 etched, somewhat in the manner of Rembrandt, but 
 ought to be classed among the doubtful pieces. It 
 was in the collections of Pond, and of the late Mr. 
 Browne, and was considered as presque-unique- 
 
 8 ? - 9 
 
 T-3 5-ToT' 
 
338 APPENDIX. 
 
 7 PORTRAIT OF AN OLD MAN WITH A LARGE BEARD. 
 
 This is the plate N°. 239, in the catalogue of 
 Rembrandt' s works. It was purchased in Holland , 
 some years since, by M. Le Conseiller Trible , and 
 finished by G. F. Schmidt. It represents an old man 
 in a long fur robe open before, with a scarf ; round 
 his neck is a chain with a medallion hanging to it. 
 His right hand rests on some paper lying upon a 
 table, on which is the bust of Homer , and some books. 
 Above the table is a window, and in the back-ground, 
 part of a book-case with a curtain. Schmidt has fi- 
 nished this piece extremely well, in the manner of 
 Rembrandt ; and as only fifty impressions were taken 
 off, it is a great rarity , and much sought after. 
 
 5 to 4t _ o • 
 
 8 THE MOOR WITH A HAMMER. 
 
 He is turned to the right, and his face is nearly 
 seen in profile. He holds a hammer in his right 
 hand, and with his left takes hold of an ornament 
 fastened to a chain that goes round his neck. He 
 wears a turban, with a feather and jewels, which is 
 more finished than the rest of the print. The back- 
 ground is hatched on the left side as high as the 
 head, and is lightly shaded as high on the right, gra- 
 dually diminishing from the bottom. This piece is 
 extremely rare. 
 
 4uo “ 4- 
 
 9 A GROTESQUE HEAD. 
 
 This head is seen in profile, turned to the right. 
 He wears a large cap waved both at the top and the 
 
APPENDIX. 
 
 339 
 
 front, and shaded behind. His nose is blunt, his 
 beard rather short and curled. Behind the head is a 
 perpendicular line, reaching from the top of the print, 
 nearly to the bottom ; another line crosses the upper 
 part of the cap, and there- are two strokes before the 
 face. This piece is strongly etched in the manner of 
 a wood print. It was in Pond's collection, and for- 
 merly in that of the Burgomaster Six , and is regarded 
 as unique. 
 
 0 ± T 
 
 1 O MO 
 
 FINIS. 
 
INDEX. 
 
 Observations on the works of Rembrandt . 
 
 Portraits of Rembrandt , 
 
 Scripture Subjects from the Old Testament, . . i$ 
 
 Scripture Subjects from the New Testament, . • ■‘■'7 
 
 Pious Subjects, 73 
 
 O . 
 
 Fancy Pieces, 
 
 Beggars, . . 105 
 
 Free Subjects, IX 9 
 
 Academical Subjects, I2 3 
 
 Landscapes, I 3 I 
 
 Portraits of Men, I 5 I 
 
 Fancy Heads of Men, J 79 
 
 Portraits of Women, 2 °3 
 
 Studies of Heads and other Sketches, .... 2,1 5 
 
 Doubtful Pieces, 22 3 
 
 SUPPLEMENT. 
 
 Portraits of Rembrandt, 2 37 
 
 Scripture Subjects from the Old Testament, . . 23 8 
 
INDEX. 
 
 Scripture Subject from the New Testament, . 
 
 Fancy Pieces, . . 
 
 Beggars, 
 
 Landscapes, 
 
 Fancy Heads of Men and Women, . . . . 
 Doubtful Pieces, 
 
 239 
 
 240 
 
 242 
 
 243 
 247 
 252 
 
 PRINTS after THE PICTURES OF REMBRANDT. 
 
 Portraits of Rembrandt and his Family, 
 
 Portraits, 
 
 Landscapes and Sea Pieces, 
 
 Scripture Subjects from the Old Testament, 
 Scripture Subjects from the New Testament, 
 
 Pious Subjects, 
 
 Historical and Fancy Pieces, 
 
 Prints in imitation of Rembrandt' s Drawings, 
 
 263 
 
 266 
 
 275 
 
 276 
 279 
 282 
 284 
 
 287 
 
 REMBRANDT’S SCHOLARS. 
 
 Etching by Leonard Bramer , 
 
 Prints after Leonard Bramer 
 
 Etchings by Ferdinand Bo!, 
 
 Prints after Ferdinand Bo ! , 
 
 Etchings by John Livens 
 
 Prints after John Livens , 
 
 Etchings by J. G. F. Fliet, 
 
 APPENDIX. 
 
 299 
 
 300 
 
 301 
 305 
 307 
 319 
 323 
 
 Prints by Rembrandt , 
 
 335 
 
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