Eemtirantit 1921 CATALOGUE OF AN EXHIBITION OF ETCHINGS AND DRY-POINTS by REMBRANDT 1606-1669 Galleries of M. KNOEDLER & CO. 556-558 Fifth Avenue, near 46th St. Commencing March 1st, 1921 Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/catalogueofexhib00unse_1 CATALO GUE Letters and references to different authorities, viz.: B.—Bartsch M.—Middleton H.—Hind 1 Rembrandt in a Heavy Fur Cap: Full Face: Bust B. 16, M. 45, H. 56. 1631 Only state. 2 Rembrandt in a Cap and Scarf: The Face Dark: Bust B. 17, M. 99, H. 108. 1633 Second state. 3 Abraham Entertaining the Angels B. 29, M. 250, H. 286. 1656 Only state. 4 Abraham Casting Out Hagar and Ishmael B. 30, M. 204, H. 149 1637 Only state. 5 Abraham and Isaac B. 34, M. 220, H. 214. 1645 Only state. 6 Abraham’s Sacrifice B. 35, M. 246, H. 283. 1655 Only state. 3 7 Joseph Telling His Dreams B. 37, M. 205, H. 160. 1638 Second state. 8 Joseph’s Coat Brought to Jacob B. 38, M. 189, H. 104. About 1633 Only state. 9 The Triumph of Mordecai B. 40, M. 228, H. 172. About 1640 Only state. 10 Christ Between His Parents, Returning from the Temple B. 60, M. 244, H. 278. 1654 Only state. 11 Virgin and Child in the Clouds B. 61, M. 211, H. 186. 1641 Only state. 12 The Holy Family B. 62, M. 182, H. 95. About 1632 Only state. 13 The Virgin and Child With the Cat: and Joseph at the Window B. 63, M. 241, H. 275. 1654 First state. 14 Christ Preaching (“La Petite Tombe”) B. 67, M. 229, H. 256. About 1652 Only state. 4 The title “La Petite Tombe” is supposed to have originated in some connection with one of the family of La Tombe who was a connoisseur and print collector. In the 1679 inventory of Clement de Jonghe, the print seller, the etching is called “La Tombe’s little plate.” Gersaint, however, referred its origin to the tomb-like elevation on which Christ stands. 15 The Tribute-Money * B. 68, M. 196, H. 124. About 1634 First state. 16 Christ Driving the Money-Changers from the Temple B. 69, M. 198, H. 126. 1635 First state. 17 Christ and the Woman of Samaria B. 70, M. 253, H. 294. 1658 Third state. 18 The Agony in the Garden B. 75, M. 251, H. 293. About 1657 Only state. 19 Christ Presented to the People B. 76, M. 248, H. 271. 1655 Fourth state. Before the removal of the figures in the foreground. Extremely fine and rare print on Japan paper. This is one of the finest 5 and most important plates of Rembrandt, and it is seldom found printed on a single sheet of paper as is this impression. 20 Christ Before Pieate B. 77, M. 200, H. 143. 1636 Second state. 21 The Entombment B. 86, M. 233, H. 281. About 1654 Second state. * 22 The Death of the Virgin B. 99, M. 207, H. 161. 1639 Second state. The title of this plate has frequently been criticised because of the presence of the High Priest in the picture, and the fact that the figure upon the bed appears to be of a man rather than of a woman. It is of interest to note that various studies of Saskia ill in bed were etched by Rem¬ brandt during the same period to which this subject belongs. 23 St. Jerome Beside a Pollard Willow B. 103, M. 223, H. 232. 1648 Second state. 24 St. Jerome Reading, in an Italian Land¬ scape B. 104, M. 234, H. 267. About 1653 Second state. 6 25 St. Francis Beneath a Tree, Praying B. 107, M. 252 , H. 292 . 1657 Second state. Only three impressions of the first state are known to exist one in the British Mu- seuip, another in Paris, and the third in Amsterdam. 26 Death Appearing to a Wedded Couple from an Open Grave B. 109, M. 265, H. 165. 1639 Only state. Because of the resemblance of the two figures in this print to Rembrandt and his wife, it has been suggested that this sub¬ ject might be a memorial of an unexpected sorrow, the death in the autumn of the previous year of Saskia’s second child. 27 Medea: or the Marriage of Jason and Creusa B. 112, M. 286, H. 235. 1648 Fourth state. The plate was designed to illustrate a tragedy of Medea, written by Rembrandt’s friend Jan Six, and published in Amster¬ dam, 1648. 28 The Small Lion Hunt (With Two Lions) B. 115, M. 273, H. 180. About 1641 Second state. 7 29 The Small Lion Hunt (With One Lion) B. 116, M. 274, H. 6. About 1629-30 Only state. 30 A Cavalry Fight B. 117, M. 275, H. 100. About 1632-3 Second state. 31 The Spanish Gipsy (Preciosa) B. 120, M. 285, H. 184. About 1641 Only state. This subject is believed to be from a tragedy printed in Amsterdam, and founded on a Spanish tale, “The Preciosa of Cer¬ vantes.” 32 The Rat-Killer B. 121, M. 261, H. 97. 1632 Second state. 33 The Goldsmith B. 123, M. 295, H. 285. 1655 Only state. 34 The Pancake Woman B. 124, M. 264, H. 141. 1635 Second state. 35 The Card Player B. 136, M. 269, H. 190. 1641 First state. 8 36 Man Standing in Oriental Costume and Plumed Fur Cap B. 152, M. 91, H. 93. 1632 Only state. This subject is also known as “The Per¬ sian.” 37 The Shell B. 159, M. 290, H. 248. 1650 Second state. 38 Seated Beggar and His Dog B. 175, M. 65, H. 75. 1631 Second state. 39 Beggars Receiving Alms at the Door of a House B. 176, M. 287, H. 233. 1648 Second state. 40 Beggar With a Wooden Leg B. 179, M. 35, H. 11. About 1630 First state. 41 Woman Bathing Her Feet at a Brook B. 200, M. 297, H. 298 1658 Only state. 42 Jupiter and Antiope: The larger plate. B. 203, M. 301, H. 302. 1659 First state. 43 Six’s Bridge B. 208, M. 313, H. 209. 1645 Second state. 9 There is a tradition that this plate was etched against time for a wager at the coun¬ try house of Rembrandt’s friend Jan Six, while the servant had gone to a neighboring village to fetch some mustard which had been forgotten for the meal. 44 The Omval B. 209, M. 311, H. 210. 1645 Second state. “De Omval” is generally regarded by the natives as signifying the bend in the Am- stel, just outside Amsterdam, rather than the village at this spot. 45 View op Amsterdam B. 210, M. 304, H 176. About 1640 Second state. This view was probably taken from the banks of the Y, to the northwest of Amster¬ dam. The tower towards the right is be¬ lieved to be the old Stadhuis. 16 The Three Trees B. 212, M. 309, H. 205. 1643 Only state. Little need be said regarding this subject, which is undoubtedly one of the master¬ pieces in etching. The city of Amsterdam is seen beyond the flat lands. 10 47 Landscape with Three Gabled Cottages Beside a Road B. 217, M. 325, H. 246. 1650 Third state. 48 Landscape with a Suuare Tower B. 218, M. 321, H. 245. 1650 Fourth state. 49 Cottage and Farm Buildings with a Man Sketching B. 219, M. 315, H. 213. About 1645 Only state. 50 Landscape with Trees, Farm Buildings and a Tower B. 223, M. 317, H. 244. About 1650 Fourth state. It is believed that this print represents a view of the village of Loenen. In the neighborhood were the homes of Wtten- hoogaert “The Goldweigher,” Hooft Van Tromp, Hindloopen and Jan Six. 51 The Goldweigher’s Field B. 234, M. 326, H. 249. 1651 Only state. The country house of the Receiver Gen¬ eral Wttenboogaert, and the view seems to have been taken from this house, showing the village of Naarden among the trees in the middle distance. 11 52 Canal with an Angler and Two Swans B. 235, M. 322, H. 238. 1650 Second state. 53 Canal with a Large Boat and Bridge B. 236, M. 323, H. 239. .1650 Second state. 54 Landscape with a Cow Drinking B. 237, M. 318, H. 240. About 1650 Second state. 55 Man with Crucifix and Chain B. 261, M. 147, H. 189. 1641 Second state. 56 Faust in His Study, Watching a Magic Disk (Dr. Faustus) B. 270, M. 291, H. 260. About 1652 First state. 57 Jan Lutma, the Elder, Goldsmith and Sculptor B. 276, M. 171, H. 290. 1656 Third state. Jan Lutma was bom at Groningen, 1584. He was not only a fine sculptor and gold¬ smith, but was an amateur collector of prints and other objects of art. 58 Jan Cornelis Sylvius, Preacher: Posthu¬ mous Portrait B. 280, M. 155, H. 225. 1646 Second state. 12 Jan Cornells Sylvius died in 1638. Fol¬ lowing is a translation of the Latin inscrip¬ tion in the lower margin: “This was the face of Sylvius, whose elo¬ quence taught that Christ should be adored and showed to men the true path to Heaven. With these lips we heard him speak to the people of Amsterdam, with these he preached to the Frisians. Piety and religion were long safe in the keeping of an unyielding champion. Brightly shone the light of his life, revered for its virtues, and even in the infirmities of age he taught strong men. A lover of sincerity, he disdained all mere pre¬ tense of right nor cared by a fair front alone to please the good. This was his belief, that Jesus could be better preached by a nobler life, less well by thunders of elo¬ quence. Amsterdam, cherish the memory of him who by his character set the standard for the city’s life and maintained it by help of God Himself.”—G. Barlaeus. “No further do I praise his merits which I fain would imitate, but seek to present in verse.”—P. S. 59 Lieven Wieeemsz Van Coppenol, Writing- Master: The smaller plate. B. 282, M. 162, H. 269. About 1653 Sixth state. The boy in this etching is believed to be Coppenol’s grandson. 13 60 Lieven Willemsz Van Coppenol, Writing- Master : The larger plate. B. 283, M. 174, H. 300. 1658 Fifth state. Coppenol was born in 1598. He gained renown as a writing-master in Amsterdam. The date of his death is not recorded; it was some time after 1667. 61 Bust of An Old Man with Flowing Beard B. 309, M. 31, H. 28. 1630 First state. 62 The Great Jewish Bride B. 340, M. 108, H. 127. 1634-5 Fourth state. The title of this print is derived from a tradition that the sitter was the daughter of Ephraim Bonus, the Jewish Physician, although most authorities believe it to be a study of Rembrandt’s first wife, Saskia. 63 Rembrandt’s Mother with Hand on Chest: Small Bust. B. 349, M. 53, H. 50. 1631 Second state. Probably the most remarkable feature of this print is the drawing of the hand, so expressive of old age. Rembrandt’s mother died in 1640; she was about sixty-five years of age at the time this plate was etched. 14 64 Old Woman Sleeping. B. 350, M. 116, H. 129. 1635-7 Only state. 65 Studies of the Heads of Saskia and Others B. 365, M. 129, H. 145. 1636 Only state. 66 Three Heads of Women, One Lightly Etched B. 367, M. 115, H. 153. About 1637 Second state. The central figure is a study of Saskia. 15 ^Arranged C®. Printed by~ Lewis W. Goerck 925 Sixth tAve., N. Y. CitY" PRINT ROOMS ON SECOND FLOOR